Brief History of Garden Design

Over the centuries gardeners and designers have alternately shown a desire to tame
Nature or to encourage a plants 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 C17th and C 18 th
formalism, the principles of garden design which include balance, symmetry, colour and
texture have changed little. Ultimately it is the appropriate use of various structural and
botanic elements in the correct setting that give a garden its unique and complete
character.
Archaeological evidence shows there existed during the Byzantine, Persian and Roman
Empires, the use of plants and garden design for purely aesthetic purposes. It was not until
the C11th that Western Europe and England, with the events of the Crusades, made contact
with oriental influences and had access to a wide selection of ornamental plants. With this
came some use of plants for non-economic purposes. The monastic orders of Europe
established herb gardens for medicinal and culinary purposes. The 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.
Through to the C14th and C15th, the gardens and gardening were for the pleasure of the
nobility and religious orders. Flowering perennials were grown for their beauty,
incorporating the use of fruit trees, some ornamental trees and water features and meadow
land (lawn).
The C16th saw the emergence of distinct formal symmetrical landscaping design on a grand
scale. This geometric design, using parterres of box ( Buxus sp) in circular, square,
triangular and hexagonal interwoven knot designs, grand statuary, water features, all came
together to create idyllic contrived spaces. Examples of such extravagant designs such as
Versailles in France, commissioned by Louis XIV, designed by Andre le Notre epitomise the
gardens of the nobility at this time.
C18th England saw the evolution of a new style of garden where Nature became the model.
Capability Brown and later Humphrey Repton created the garden park in Englands grand
manors. Man here saw himself as part of nature and not superior to it. Gone were the
medieval knots, replaced by broad views with running open meadows up to the house.
Surrounding these open lawned spaces were idealised landscaped native woodlands, dammed
rivers creating water features and statuary. The use of ha-has dissuaded stock and deer
from entering too close. These landscapes achieved rare simplicity, depending on broad
masses of light and shade, grass and trees to create the effects.
Paralleling the garden-park movement, as a consequence of growing urbanisation and the
emergence of a middle class brought about by the Industrial Revolution, and increasing
numbers of plant hunters returning from remote regions of the with large numbers of
never before seen exotic species, there was a need for gardeners to become designers, to

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display their wealth of new trees and shrubs. The more new varieties that could be
displayed, the better. The gardenesque style which emerged was extremely artificial.
Here flowers were bedded out in elaborately designed beds to accentuate colour and
contrast. Specialty gardens such as rock gardens also became popular. Collection, display
and growth of exotic species were the main aims. leaving style, aesthetics and function as
peripheral objectives.
The latter part of the C19th saw a reactionary movement in garden design. William
Robinson and Gertrude Jekyll. Took the lead in designing the cottage or wild garden. The
quest was for natural harmonies of colour and shape in foliage and flower. It was an
attempt to combine good sense (in terms of site and suitability of plants) 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 showmans display typified by the
gardenesque style. Gertrude Jekylls gardens at Sissinghurst bear witness to her eye for
harmony and balance with appropriate mass plantings of flowering perennials, trees and
shrubs. The growth of the cottage garden movement also allowed for the development of
small gardens, making the pleasures of gardening accessible to the common man.
The C20th took up the principles of the Modernism Movement of the1930s and Post
Modernism. Gardens should in principle be based on function, utility, provide for activity
and relaxation and avoid axial planning rather having more fluid design patterns. The 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.
In Australia, 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. Specialised gardens along coastal. shade, tropical, alpine or
oriental themes have also increased in post WW2 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. As living spaces diminish in size, there
has been an emergence of the courtyard and patio garden. The space limitations demand
precise planning to incorporate elements of texture, colour and shape of the grander garden
styles.
If we look around domestic suburban gardens we will find elements of ALL the previous
centuries traditions encapsulated in some way into present day design.

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ELEMENTS OF GARDEN DESIGN

Many different elements are brought together, arranged and constructed in any garden or
landscaping design. These are usually treated under two categories, namely hard elements
and soft elements.
Hard Elements
All of the non-living and fabricated elements including
Paving, paths bricks, pebbles, pavers, slate, stone, log rounds, gravel, asphalt,
scoria, mulch, groundcovers
Edging and steps timber/stone
Garden beds raised mounds or beds, rockeries, terracing.
Rocks, stone, gravel, logs
Water displays stream, pond, bog, fountain
Timber, eg pergolas, gazebos, seats,
Fences, trellises timber, woven panels, stone, brick, metal, lattice, brush
Decking extension to home or separate space paved, or timber
Ornaments such as statues and decorative containers
Irrigation and drainage equipment
Lighting ground or aerial

Soft Elements
Often referred to as green life and includes
Trees
Shrubs
Climbers and ramblers
Ground covers
Perennials
Annuals
Turf
Aquatic plants
Planted in beds, as single specimens or potted in containers

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Garden Styles
There are two basic styles of design from which numerous others can be developed.
Formal Style
This 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. It uses straight and curved lines to form borders of
regimented, geometric and repeated patterns. The resultant
garden planting or landscape will appear the same or very
similar when viewed for different aspects. Gardens of this
type typically contain manicured lawns, straight paths,
clipped hedges or topiary, clearly defined borders of low
hedges or edging plants, formally arranged bedding in blocks
using strong colours
This formal or contrived style is most commonly replicated in rose display beds or small
herb knot gardens. Other garden styles that would be considered as formal in nature are
oriental gardens, classic and Italianate, formal bedding, parterres, and sunken gardens.
Given the labour intensive nature of the maintenance requirements of such a garden style it
is not recommended design for the average weekend gardener.
Informal or Naturalistic Style
This style is asymmetrical and attempts to reflect a more
natural landscape ideal. Plants are allowed to achieve their
natural shape and spill out beyond bedding edges and onto
pathways. Each 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.
Semi-formal styles utilise aspects of both above styles with
cottage gardens representing good examples. Individually we
are all attracted to various levels of formality of informality
when viewing a designed planting.

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Water 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
Proportion and Scale
The 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. Several aspects are involved:
Proportions of space and enclosure
This idea deals with open areas foreground, mid-ground, background, horizon and
sky and how they are enclosed by soft and hard landscape elements. For example an
open area of lawn or paving in a house block can be made to appear large or small as a
result of the height and density of plants that enclose it.
Proportion of mass
This is the visual weight perceived
from the size relationship and density
of plants relative to the house.
Proportion of shape
If all the plants in the garden were
rounded or cone-shaped the result
would be monotonous.
Proportion of colour
Similarly if a garden is dominated by the same tone of green, the result is
uninspiring. A mix of too many tones of green or other foliage colour may also be
unsuccessful.
Balance
This is related to creating a feeling of equilibrium or stability. Imagine a yard space divided
in half and placed on a scale. If both sides attract the eye equally
then the design is balanced. This can be achieved with formal and
informal styles.
Unity
This is the fitting together of all the elements into a harmonious
whole. Unity is achieved principally by the use of a landscape
character or theme. This is best achieved by using one or a
couple of similar species as dominant plants. Another way is to
link different areas with a path constructed from the same
pavers as used around the house. Disunity is created by trying to
incorporate too many ideas or elements in one area as they create
visual confusion. Unity is closely related to simplicity.

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Simplicity
Landscape elements, particularly plants, dont have to compete with each other for
attention. Simplicity of design similarly doesnt mean limiting plant use. Grouping of plants
to create smooth flowing silhouettes of size and form is one way of achieving simplicity.
Repetitions of the same plant species, construction materials or colour are other ways of
achieving simplicity in design. It is not necessary to have a large variety of different
species to create a well- landscaped effect.
Repetition and Rhythm
This principle is used to create a sense of movement for the viewer. Gently rolling planting
beds and plant heights arranged in a stepped or graded effect (low at front, medium in
middle and tall behind) 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. If the plantings flow from one area to the next,
the principle of rhythm has been applied well. Linking rooms using repetition of species
helps achieve rhythm but also unity and simplicity.
Contrast and Accents
This principle is based on the idea that when the human eye views a
scene it is immediately drawn to one prominent feature, then takes
in the adjacent elements. This feature is termed the accent or
focal point.
Accents are achieved by placing something different or contrasting
in a prominent position such as an inside curve of a garden bed.
Elements of contrast that can be employed include:
Height
Form eg weeping or cone-shaped
Texture coarse or fine foliage
Colour paler or darker tones, non-green, variegated.
Plants providing these features are generally called specimen plants.
Accents can also be achieved by using hard elements such as statues and pots, water
features, steps, mounds, rock feature, gazebos.

Sequential Realisation

This principle refers to the aspect whereby a general overview of a whole area is not
possible from one viewpoint. The viewer must physically move around to appreciate the
total effect, gaining new views with each movement. It can be achieved with use of
screening plants, changing levels and connecting them with steps or using mounding. The
viewer is enticed to explore around corners and if effective can create the illusion of space.

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Principles of Plant Selection

The performance of plants in the landscape depends on a number of factors:
The suitability and adaptability of the plant to the chosen site i.e. climate, soil,
microclimate.
The quality of the plant stock used.
The preparation of the planting site
The planting methods used
The after-care or maintenance practices.
Plants must be selected carefully to ensure they are suitable for and/or will adapt to the
chosen planting site and fulfil their intended function.
In general plants assume one of two roles:
Have intrinsic value as individual specimens
Form part of a massed effect.
Massed planting should be the rule, with specimen or accent plants the exception. Too many
individual specimens tend to overburden and confuse with too many focal points and details.
The selection of plants for any situation involves careful consideration of three main
aspects:
The suitability of the plants to the environmental conditions of the site.
Matching plants to the site conditions is the most important aspect of plant
selection. If the plant is unable to grow well it is unlikely to fulfil the functional or
aesthetic roles sought when planted.
The following environmental conditions will have an impact on the plants survival and
growth rate.
Climate
Temperature seasonal extremes
Frost
Moisture seasonal rainfall pattern
Wind prevailing directions
Light
Aspect (pattern of sun and shade)
Pollution
Soil pH, texture, structure and compaction, macro & miro nutrients
Competition from existing flora and fauna
Bushfire risk
Erosion problems slope, surface run-off,
Drainage and waterlogging
Micro-climatic variations eg dry shade, bog, acid, heavy clay

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 The functions that the plants will be required to perform or fulfil. These may
include:
An aesthetic function
To help create an atmosphere or theme
To provide privacy
Screen a view
Utility space
To provide recreational space for children or entertainment
To highlight or frame a view
To produce fruit or nuts, herbs
To define space
To direct traffic
To filter air wind protection
To reduce soil erosion
To moderate noise
To influence microclimate light and shade, temperature, wind, glare,
humidity
The range of design features or attributes that the plant will provide. In particular
you should consider the following factors:
Its particular features habit, size, leaves, flower and fragrances,
fruit and bark
Its rate of growth and longevity combine fast moderate growers for
rapid effect and long-term durability.
The nature of its root system.

If poor selections are made a number of issues may arise:

Plants that outgrow the site may block views, crowd pathways and driveways, lift
foundations, pathways and paving or overshade other plants.
Maintenance cost may be high pruning or clearing up leaf litter
Some 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.
Fast growing perennials may become weak wooded and prone to lose branches or have
short life cycles (8-10 years) before they need replacing.
Some plants have invasive root systems (Salix sp and Liquidambar styraciflua).
Trees are a more permanent fixture and expensive to remove so it is important to
get the selection right.

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Plants Attributes to Achieve Design Outcomes

Plant Form

Size
General shape
Habit
Branching pattern

Plant Colour
Dark tones create heavy look use as background to lighter greens.
Too many dark greens in background make area look smaller
Light greens if overused can make insipid and indistinct effects. Use as
highlights or to brighten a dark area.
Mid greens should be used predominantly adding mixtures of blue-greens, yellow
greens and dark or light greens.
Use yellow greens sparingly.
Silver and pale blue-greens are excellent accents for dark areas and help create
illusion of distance.
Seasonal colour changes such as autumn colours, new spring growth and winter
tones add a bonus to help create year-round interest.
Bark Colour and Surface
Use variations in permanent and seasonal bark colours to add highlights or as integral
part of design themes.
Textural characteristics of bark offer tactile experiences for garden user.
Flower Colour
Many designers use this as the main feature around which gardens are designed. In 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.
Some points to keep in mind in the use of colour:
Bright colours are better planted in fore and mid-ground as in background they can
make garden look smaller.
Softer colours such as pale blue, mauve, pink and violet are better background tones.
Whites and pinks make the garden appear larger.
Blues are good linking colours
Yellows are bright and good for lighting dark areas.
Reds are hot and make useful accent colours if not overdone.

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Seasonal Variation in plants

Deciduous plants provide variation in foliage colour through year
When bare deciduous plants open up vistas inappropriate choice as screening plants
Plants are always in a state of change young to mature, seasonally flowering and
fruiting.
Foliage Density

Dense foliage provides privacy and screens undesirable views.

It makes a garden look smaller if used extensively in the background.
Help achieve sequential realisation.
Semi-permeable plants are useful in background as eye cant clearly perceive
boundaries but can still see distant views.

Foliage Texture and fragrance

Coarse textured plants are better near the buildings and fine textured in
background to suggest distance.
Different leaf types can be used as accents eg ornamental grasses.
Sensory experiences of plants located close to pathways crushed leaves

In conclusion:
You need to know your plant well
You need to find out the conditions existing in the environment into which the plant
is to be placed.
From a well planned design you need to establish the effects that are desired or
required and include general maintenance requirements (water, fertiliser, trimming).
Few plants achieve ALL that is required of them compromise selections may be
needed.

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PLANTING PLAN
The planting plan is a map of the planting site showing:

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.

This is an example of a simple planting plan. It is drawn to scale with a key, identifying
different features. These symbols are typically used in planting plans to represent
different plant forms. The numbers are used to identify specific plant species.

SOME HINTS FOR BASIC LANDSCAPE PLANS

Landscaping is a lot of work and can cost a lot of money. For these reasons, most do-ityourselfers go with a 3 to 5 year landscape plan. That way the work and cost can be spread
out over a few years.
A good plan is essential in landscaping. Without it, you'll end up wasting a lot of time and
money.
Before you start, you should know what style your landscape will be and what function it will
perform for you. You also should have a good idea of what plants you want to incorporate in
your plan. As a homeowner, look at where you spend most of your time and really focus on
first enhancing the views from there.

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To keep the costs down, you can also try to re-use some of the plants in your existing
landscape.
Getting Started
You can draw up your own landscape plan since the basic principles of landscape design are
not that complex. But there are a lot of things to consider so you might want to have a
landscape pro look over your plan before you start on it.
You'll need graph paper to draw out your plan. You'll need to measure out the size of your
lot, plus the dimensions of your house.
You'll also need a pretty good idea of where the house sits in the yard in relation to the
boundaries of the property.
To be exact, measure from one corner of the house to a couple landmarks like 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.

Drawing Your Own Plan

Here are examples of how to draw up an informal and
formal plan.
Informal Plan

Frame 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.
Spreading these out a couple metres will
make a small house seem a bit bigger.
Next, put in a series of medium-sized shrubs along the foundation to
cover any exposed block.
The entry was framed on each side with a group of taller deciduous
shrubs.
Use a series of short shrubs to round off the outside edges.
Then fill the area in with a mass planting of perennials.
The finished plan shows how carefully planned the informal layout
really is, despite the random look it presents.

Formal Plan

Start with a low, formal hedge, trimmed in this case to a height of

1metre.
Use straight lines and square corners for the hedge, nothing rounded
or curved.

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

Along the foundation, continue the geometric sequence with a globeshaped, medium-sized shrub.
For colour, fill in the middle of the beds with tall perennials that would
be visible above the hedge.
To finish, anchor the corners of the house with a pair of ornamental
trees, pruned to hold their shape.

If there was an immediate need for a privacy barrier with the neighbours yard, we could put
up a 2.5 metre privacy fence along the boundary.
An alternative would be a hedge of tall shrubs--like lilacs or arborvitae, but that would
definitely take longer.
A tall hedge like that would also be a way to soften a long featureless wall on one side of
the house.
A row of evergreens on the south/west side of the house would provide a real nice wind
barrier in the winter.
And 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 Preparation
Before commencing any planning, preparation or planting works, 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 (buildings, trees, planted areas) and public access.

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