There are quite subtle distinctions between landscape design and architecture though they refer to specific professions. The former focuses on the connections between nature and art, whilst the latter emphasizes the aesthetic of open and public spaces. Each professions has its distinct training courses and professional associations across the world.
In attempting to marry natural features to artistic originality sensitivity and skill are required. Plans have to take account of compatibilities and disjoints. For example, a successful plan might include glass or plastic features in plants if the two are in harmony. If the glass and plastic objects are too prominent and seem to dominate natural features the plan may fail.
The well known garden gnomes that roam across some urban plots may seem kitsch if there are too many of them, or if one big gnome looms large at the garden gate. However a single inconspicuous gnome may be inoffensive, and even become a successful garden joke in a different plan. A tasteful sculpture might also complement a water feature if design principles are implemented in its inclusion.
Transition is another important principle. Nature moves in cycles and large and small seem always to fall into place. In art it is difficult to capture the transitions that occur naturally. It may seem simple to place small plants at the front and larger ones at the back but a plan must take into account the constant state of flux in a garden.
Buildings are static. They do not grow or develop new limbs as plants do. Seasons do not cause them to grow at variable rates or change their state entirely. However, plans for open spaces must allow for changes that are not all predictable.
The interior structure of natural things often reveals repetition. A flower owes its beauty to an arrangement of petals each with its identical pattern of colors, texture and shapes. In landscape design this natural ploy of repetition may be replicated. For example, a plan may provide for a series of identical topiaries as a feature.
In attempting to marry natural features to artistic originality sensitivity and skill are required. Plans have to take account of compatibilities and disjoints. For example, a successful plan might include glass or plastic features in plants if the two are in harmony. If the glass and plastic objects are too prominent and seem to dominate natural features the plan may fail.
The well known garden gnomes that roam across some urban plots may seem kitsch if there are too many of them, or if one big gnome looms large at the garden gate. However a single inconspicuous gnome may be inoffensive, and even become a successful garden joke in a different plan. A tasteful sculpture might also complement a water feature if design principles are implemented in its inclusion.
Transition is another important principle. Nature moves in cycles and large and small seem always to fall into place. In art it is difficult to capture the transitions that occur naturally. It may seem simple to place small plants at the front and larger ones at the back but a plan must take into account the constant state of flux in a garden.
Buildings are static. They do not grow or develop new limbs as plants do. Seasons do not cause them to grow at variable rates or change their state entirely. However, plans for open spaces must allow for changes that are not all predictable.
The interior structure of natural things often reveals repetition. A flower owes its beauty to an arrangement of petals each with its identical pattern of colors, texture and shapes. In landscape design this natural ploy of repetition may be replicated. For example, a plan may provide for a series of identical topiaries as a feature.
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