Does And Don't On Designing with Colour
Article by Sue Hook
Congratulations to the Laurent-Perrier Garden, Best Show Garden, and all the award winners at the 2014 RHS Chelsea Flower Show! I am of course delighted that I called the best in show winner in my MyGardenSchool predictions blog from seeing the show gardens yesterday!
Congratulations to Luciano Giubbilei - well deserved.
Chelsea Flower Show Gardens - Winners
Designed by Luciano Giubbilei
Designed by LDC Design
Designed by Kazuyuki Ishihara
Gold Medallists.
Ryoji Irie
South West in Bloom
Birmingham City Council
Sparsholt College
All Great Pavilion awards download (114kB pdf)
How do you create innovative creative design? Where do designers get inspiration from. The true it that true design inspiration comes from everything around us. In this video architect Barry Burkus take a screwed up piece of paper and talks us through how the shape can inspire you to design a building.
In landscape design, nature is our inspiration. Probably the most famous example of this is Thomas Church’s design for the swimming pool in the Donnell Garden (a quintessential example of Thomas Church and mid century modern design) in Sonoma County
It was said that Church used the curve of the river in the valley below (centre top of the image) and copied it to form the shape of the pool.
For further reading on this subject I would recommend From Concept to Form in Landscape Design
This is an interesting video on the design process. The thought patterns that go into designing a space. In this case a house, but we use exactly the same bubble diagram/ function diagram process for designing outside space.
This multi award winning courtyard designed by Cos Design, transformed what was a tired, old unused space into a stylish and functional outdoor room. A three level water feature hides the courtyards rear access, while custom built in bench seating and furniture, built in BBQ, raised planter boxes and screening bamboo planting, provide the aesthetics and functionality required by the clients.
The internal light well is also a feature from the bathroom window and stairwell. This garden was the winner of the 2009 National landscape of the year (Under $100k) along with 3 state awards.
[photography by Tim Turner as featured on Designhunter]
Yesterday the UK officially entered a double dip recession. The first in nearly 50 years. Led by the building industry, it’s predicted that this sector will remain in negative grown for at least the rest of this year.
With house building at an all time low, and Europe and America in the worst recession since the 1930’s, what will happen to the middle classes, that up till now have been the life blood or our industry?
Garden design as an industry, has had 20 years of unparalleled growth. Prices in the housing market have risen across Europe (and more recently America) at a staggering and in hind-sight, unsustainable rate.
It goes without saying that the housing market and the landscape industry go hand in hand. There have been housing market slumps before and the garden design industry has always recovered. But this time it could be different.
Countries like Spain and Ireland have huge housing estates abandoned like ghost towns, and parts of the US have deserted subdivisions, reminiscent of 1930’s dust bowl America, where thousands of acres of farmland where abandoned.
With house price crashes in some countries in excess of 50%, it’s going to take more than a generation to put right these wrongs and as a result, the middle classes are going to be squeezed very hard, for a very long time.
So what effect for the garden design industry? I believe it’s inevitable that the industry will contract. More people will be fighting for the smaller bread and butter jobs while the upper end will remain strong.
Those designers who are properly qualified, stand the best change of making a living. Charging professional frees and offering a professional service.
Fewer people will enter the professions; and those that do, will need to do their homework very carefully. Too many courses cater for the “ladies who lunch brigade”. They focus on the froth, rather than teaching their students the professional practice side of the industry.
The Oxford College of Garden Design took the decision last year to only offer our on-line course for the foreseeable future. Thus allowing our students to continue to work and earn a living, while they study.
“What most course don’t tell you is that it will take another 2-3 years after you graduate, before you will earn a living”
By pre-recording all our lectures and offering them as downloadable video tutorials student can continue to train while still bringing in a salary.
Too may student graduate, only to then drop out after 12 –18 months because they can’t afford to live.
If you want to thrive in the 21st century you need to think smart, plan ahead and have the best training you can afford.
The dining terrace is without question the most important part of any garden. It is the link between the artificial environment of the house and the biological environment of the garden. You start and finish your journey round the garden and its the area on which most outside activity takes place.
If the terrace doesn’t work the rest of the garden won’t either!
Keep the dining area close to where the food is prepared. You don’t want to have to walk miles with plates and cutlery let alone freshly prepared food. So for this reason, it is most likely going to be next to the house. However in is some warmer climates I have built “summer kitchens” which are away from the main home, usually next to the swimming pool or tennis court. These are fully fitted outside kitchens complete with fridge stove and can be undercover with an adjoining dining area.
Scale is vital in all design but even more so when it come to the dinning area. the first thing you have to remember is that outside furniture is usually significantly larger, therefore you will need a much larger outdoor space than you would if you were planning the same space indoors. The other major area of importance is circulation space. i.e. the area around the perimeter of the table for people to move, serve food or pull their chairs out when leaving the table. Unlike interior spaces where people are prepared to squeeze behind chairs to enter or exit, outside you need at least 1m (3ft) behind the chairs to comfortable accommodate pedestrian flow.
For obvious reasons any surfacing material needs to be hard wearing if the dining space is to be a permanent fixture. Stone, and concrete, make perfect paving materials while decking works well provided it is sufficiently supported by large enough joints to avoid any bounce. Because you and your guests will spend so much time in this one position, if budgets and site permit, you can also spend more time and money here on paving detailing, as it will be more likely to be appreciated.
The exception to the rule is the temporary dining area, which may only be used once then moved. These are placed on lawns or under trees for their view or their romantic atmosphere
There is something quite special about eating next to water, be it a swimming pool, pond or even the Ocean, water adds a magical quality to the dining space. The only proviso would be to double the circulation space to 2m (6ft) as sitting to close to water can give guests an uncomfortable feel.
If you can’t provide water then planting is the next best thing. Surround the dining area with soft planting that provides a cocooning feel without blocking the views. Grasses and translucent perennial planting is perfect for this as it created just enough screening without feeling claustrophobic.
In urban areas, privacy when eating can be difficult to achieve. In these circumstances an overhead arbour or pergola comes into its own. Not only do they provide screening, but also create a human scale to the outside space, so important in making people feel comfortable.
The Arbour doesn’t have to be very heavy to give the subliminal feeling of a roof, but at the same time can control light quality (depending on the choice of climber) and provide shade, as fewer of us now enjoy eating, unprotected from the damaging effects of the sun.
Duncan Heather is Director and principal of the Oxford college of Garden Design which runs an Online diploma course and 4 week online short courses in all aspects of gardening
Whether a designer or client, in these hard economic times, you can’t have failed to notice more and more small businesses going to the wall.
Whether they are nurseries, landscaping or building firms, it’s hard to make a living right now, jobs are scarce and margins tight.
A worst case scenario, is for the contractor to go under, halfway through a job, potentially costing the client $1000’s as well as designer a monumental headache, trying to find another firm to finish the work.
A designer may even be held partly liable, swept up in any legal action. So you need to be doubly careful when selecting contractors to tender and don’t skimp on the due diligence.
Taking a contractor’s word, that they are financially solvent is no longer adequate. Before signing the contract, bank references should be taken up and the client should be advised in writing to to do a credit check with a firm such as Dun & Bradstreet.
However even this may not be enough. On larger jobs, lasting several months, the contractor could still run into difficulties. Either through poor management, or if one of their suppliers goes bankrupt and takes them down in the process.
There is little you can do about the latter, but the designer can help manage the contract and at the same time protect the client from paying too much up front before work is completed and materials are on site.
The first and most important document you should insist on, before work starts on site is a daily work schedule. This is a day by day breakdown of what work will be carried out, to include in what order the jobs are to be completed and the number of man days involved.
Small contractors are sometimes reluctant to provide these, as they involve hours of preparation, but I make this a contractual requirement and won’t let a project start before the client and I have both received a copy.
This document allows all parties to monitor the progress of the job. The designer and client can see at a glance, that the work is on schedule and the contractor can also plan when materials and plant should be ordered, so the work is not delayed due to material hold ups.
In fact, once the contactors see the benefits of this document they will continue to prepare one for each and every job they do. Not only will this help protect your clients by keeping the job on schedule it will also likely improve the contractors profitability.
Secondly the designer can protect the client by ‘Project Administering’ the contract. Note the word ‘Administer’ NOT ‘Manage’ Most designers are not qualified to ‘Project Manage’ a site, as this implies quality control and would require the designer to be onsite throughout the build.
At the Oxford College of Garden Design our students are taught to project administrate jobs. ‘Project Administering’ a contract, involves weekly site meetings to assess the works progress. The designer can remind the contractor to order materials in good time to avoid delays and is also in charge of signing off the weekly/monthly invoicing.
This involves making sure that the contractor only invoices for work completed and for materials on site. An agreed % is then held back (usually 5%) until the penultimate invoice when only 2.5% is withheld until the final certificate of completion is issued (usually after a defects liability period of 6 months)
By going through this process the designer is ensuring that the client never overpays before work is completed onsite. In the event that the contractor does go bankrupt, then the client should still have enough funds to bring in a second contractor to finish the job.
Some professional bodies guarantee their members, so it would be worth looking carefully at these and maybe choosing contractor. Organisations like SPATA (Swimming Pool and Allied Trade Association) in the UK guarantee that if one of their members goes under part way through a job another member will finish the work for the outstanding agreed contract cost.
Finally a last piece of advice is to split large contracts down into smaller ones. Consider different contractors for different parts of the job to spread the risk.
Ground workers for excavation, drainage and contouring; Pool contractors for swimming pools; pond and lake specialists for water features; Stone and masonry specialists for hard landscape features such as paving and walls; Turf/Sod contractors for lawns; Irrigation engineers and lighting technicians; and finally soft landscape specialist.
I have always preferred women contractors to do my planting, as I consider them more conscientious and careful with young plants.
Nature and Human Intervention is Luciano Giubbilei’s second book. The book details the process behind the 2011 Laurent-Perrier Chelsea Flower Show gold-medal garden,a collaboration between three acclaimed artists-garden designer Luciano Giubbilei, architect Kengo Kuma,and sculptor Peter Randall-Page.
Captured in 250 colour photographs by Steve Wooster and Allan Pollock-Morris and essays by garden historian Kathryn Aalto,the book shows how artists, craftsmen, and suppliers worked together to expose, highlight, and craft beauty from Nature. “We return time and again to the comfortable vocabularies, images, sounds, memories, thoughts and feelings that constitute the boundaries of our experience and expression,”says Luciano Giubbilei.“Yet every now and then, we encounter a breakthrough moment– a rare instant when the daunting constraints of possibility melt away and when we gain the courage to focus through new lenses.
”The book is published as a limited edition of 1000 numbered copies, of which only 500 copies are to be released to the general public. Retailing at £35.00 to purchase a copy please visit www.lucianogiubbilei.com.
By garden designer Luciano Giubbilei.
Leading British sculptor Peter Randell-Page and Japanese architect Kengo Kuma contributed to the garden with a sensory bamboo pavilion and three commissioned sculptures.
Divided into two distinct areas, one space evoked a calming and meditative mood, whilst contrasting with a more vibrant densely planted space. It was designed to create a romantic atmosphere, with colours varying between browns, bronze and soft pink, reflective of Laurent Perrier Cuvée Rosé champagne.
Exploring the theme of “nature and human intervention”, the intention was to bring together both garden, art and architecture in a composition that reveals, complements and enhances a shared philosophy. The theme of the garden was conveyed by a strong design layout against a softer style of planting. At one end was the pavilion, at the other is a densely planted, romantic and elegant space that frames the water and is designed to be walked through.
The main structural planting consists of Parrotia persica, positioned to interact with each of the other elements in the garden. Parrotia persica’s twisted clear stems show both how nature creates beauty and the skill of the modern nurseryman in exposing it.
The trees will provide interest throughout the year, with autumnal colour, the structural form and flowers in the winter, and glossy green foliage for the spring and summer. The Pinus mugo at the rear of the garden are planted on a backdrop of gravel, silhouetting the clipped cloud like form. Being an evergreen they will also provide winter interest.
The composition of the flower scheme is designed to create a romantic atmosphere. The plants were selected for their colour combination, which predominately varies between browns, bronze and soft pinks.
Trees
Parrotia persica
Hedges
Carpinus betulus
Flowers (Perennials - Victorian Pink)
Chaerophyllum hirsutum Roseum
Pimpinella major Rosea
Aconitum Pink Sensation
Astrantia Roma
Astrantia maxima
Astrantia Buckland
Digitalis × mertonensis
Papaver Patty's Plum
Papaver Royal Chocolate Distinction
Papaver Harlem
Papaver Manhattan
Nectaroscordum siculum
Salvia pratensis Lapis Lazuli
Salvia nemorosa Rose Queen
Salvia nemorosa Amethyst
Geranium phaeum
Iris germanica Quechee
Iris germanica Carnival Time
Iris germanica Sultan's Palace
Iris germanica Dutch Chocolate
Iris germanica Fortunate Son
Iris germanica Louvoir
Iris germanica Cable Car
Sanguisorba menziesii
Thalictrum aquilegifolium Thundercloud
Thalictrum aquilegifolium
Thalictrum Ellin
Thalictrum Black Stockings
Verbascum (Cotswold Group) Pink Domino
Verbascum Merlin
Verbascum Cherry Helen
Pinus mugo mops - Green cushion plants
Sanguisorba minor
Bupleurum longifolium sub. Aureum
Salvia pratensis Twilight
Papaver Lauren's Lilac
Verbascum Petra
Verbascum Valerie Grace
Verbascum Apricot Sunset
Salvia pratensis Rose Rhapsody
Panicum virgatum Rehbraun
Anthriscus sylvestris Ravenswing
Deschampsia cespitosa
Chaumont-sur-Loire - Garden Festival (April 22 to 16th October) This French show is probably one of the most exciting and query of all the festivals
Chelsea Flower Show (May 22-26) Relatively small but oh-so-smart, has now spawned its own Chelsea Fringe
Singapore Garden Festival (July 7-15) A biennial blockbuster majoring on spectacular orchids and top international designers.
Floriade (April 5-October 7) Held every 10 years in Venlo, Holland. An improving mix of environmental message and traditional commercial horticulture.
Philadelphia International Flower Show (March 4-11) Next year’s theme is Hawaii, the scale is vast and outstanding horticulturists flock here from all over the United States
Landesgartenschau Nagold (April 27-October 7) The Germans take gardening very seriously and this event is a must-see for anyone interested in new ideas about environmental design
Keep a record of the number of terms you don’t know and find out at the end how much of an expert you are!
More than 20: need further study
15-19: Average Knowledge
10-14: Good Landscape Knowledge
Less than 10: Expert….We’re not Worthy!
The Oxford College of Garden Design offers several short 4 week Design, Horticultural and Gardening courses as well as our Professional On-line Postgraduate Diploma Level Course
Rule 1: The House is the Most Important Part of Any Garden.
You can’t ignore it! It’s almost always the largest, most dominant structure in the garden. Your journey starts and ends with the house and therefore any garden plan, should always start from the building and work outwards.
Rule 2: The Designers Main Objective is to Link Building with Site.
Probably the most important rule of all and yet the one that is least understood. This rule applies to any landscape scheme, whether residential or commercial. If the design is to be successful, then it must blend the building seamlessly into its environment. To achieve this, the designer needs to be able to combine symmetry with biology, i.e. architecture with landscape. Because most buildings are made from geometric shapes and the garden is essentially a biological environment, great care is needed to join these two opposing forms together. Try linking them too quickly and they will clash, creating a meaningless amorphous squiggle where the house looks like it’s just landed from space.
Rule 3 All shape close to the house should be Symmetrical.
This follows on from rule 2. Because the building is predominantly made up of straight lines based on squares and rectangles, the area around the building should copy these geometric, mathematical shapes to help link the house with the garden. The terraces, paths, formal pond and planting beds should be designed using straight lines.
If you don’t believe me, I will try to convince you by using an interior design analogy. “You would not put an amoebic shaped rug into a rectangular shaped room. Instead you would use a geometrical rug/carpet.” The same rules of interior design are just a relevant for outside design. The lawn is the carpet of the garden and the worst thing you can do, is to put a wiggly edged lawn into a rectangular shaped garden. Creating wiggles and squiggles won’t make your garden look natural. Nature makes it natural! As soon as you add planting to a straight edged border the plants grow and spill over and soften all the hard lines.
Rule 4 Use a Grid to help you Design.
Because you want your garden to link back to the house, it make sense to use shapes and pattern on your plan, that relate back to the scale and proportion of the building. “The Scale of the Grid is derived from the Mass of the Property”. Every grid is unique to site. This may in reality appear subliminal, but using a grid which is derived from the proportions and scale of the building means that all the patterns you use for the garden plan, relate directly back to the house and the grid also acts as a guide for the designer so they can quickly check size and scale of different features.
Rule 5 There are No Rules.
This isn’t strictly true because I have just given you a small sample of some. However you first need to understand the rules of geometry and design before you can break them. If we all stuck rigidly to rules, we would end up with some very dull design, but conversely, few universities and colleges give any clear guidance to design teaching, so that students graduate without a clear design philosophy.
At the Oxford College of Garden Design we run a professional On-line postgraduate level course and together with our sister site MyGardenSchool we also offer 4 week On-line short courses in all aspects of gardening. One of the main reasons our students have been so successful, is that we do teach a design philosophy by verbalising and explaining why something works and why something doesn’t.
The Trinity Avenue Farm Design Competition is a competition developed to inspire creativity and innovation as the City of Atlanta works to establish an effective and aspirational model for urban agriculture within Atlanta communities—showcasing how fresh food can be grown locally and sustainably.
The competition is open to professionals, students and educators in agriculture, architecture, construction, design, development, engineering, horticulture, landscape architecture, planning and others fields interested in urban agriculture. Entrants must be residents of the state of Georgia.
The winning farm design will be developed on the 0.8 acre lot located across the street from City Hall on the corner of Trinity and Central Avenues (formerly the site of the Atlanta traffic court building). The physical address is 104 Trinity Avenue, Atlanta, GA, 30303.
How the Competition Works
All design submissions will be evaluated by the Trinity Avenue Farm Design Competition Review Committee to determine the competition finalists. Selected finalists will present their designs to Atlanta Mayor Kasim Reed, who will choose the winner. Once the winning design is chosen, the preparation of the land and design installation will begin immediately. The farm is scheduled to open to the public in Spring 2012.
Download site plan here
When first being taught to allocate space, the landscape student is guided through several different processes before they reach a final design solution.
It all starts with an accurate topographical land survey. A plan of the site is then drawn up to scale, to include boundary walls, existing buildings, trees, services and existing levels.
Having gathered this information on a local scale, the student should then expand their area of study to the surrounding landscape. Topographical, historical cultural and architectural information can be gathered from maps and the internet, which helps put the site into context and may suggest a theme on which to hang their eventual design.
Shadow plans are then calculated to assess the impact of spring and summer shade patterns and a sight Analysis plan developed to note the influencing factors of the site such as existing features, wind direction good and bad views etc.
Once all this information has been compiled, the student can start to experiment with space allocation in the form of bubble or functional diagrams.
All this work is a prerequisite to the creation of the presentation or master plan.
But what happens to all this research once the presentation plans are completed?
What many student fail to appreciate, is the difficulty many clients have in understanding the 2D plan drawings.
While we take it for granted that the ‘house’ is the big black rectangle in the middle of the drawing, it’s surprizing how few clients realise this. You can be waxing lyrical about how great their new garden is going to be, while showing them the plan and they simply can’t make head nor tail of it!
At the Oxford College of Garden Design we teach our students to overcome these difficulties by using the research and preparation drawings as part of the sales presentation.
The diagram above, illustrates the 4 preliminary design stages and can either be presented on separate sheets, or combined into one or 2 presentation drawings. These allow the designer to start their presentation, by going through the site survey and pointing out the house and the important features of the garden. This allows the client time to digest the plan and to familiarise themselves with the graphical nature of the drawings.
Next you can explain how you developed their ideas, by running through the site analysis plan and the bubble/functional diagrams.
Explaining the thought process to your clients helps you justify why you have arrive at a particular design solution, but also it help the client to understand how much work goes into the preparation of a landscape plan.
When you are charging several $1000 for an outline proposal arriving with just one sheet of paper can give the client the impression that they are not getting value for money.
Remember! you only get one crack of the whip at presenting your ideas, so you need to make that ‘sale’ in no more than about 60 minutes, otherwise you won’t get the rest of your design fee and more importantly the garden will never be built.
Arriving with 2-3 sheets of research drawings plus the garden plan, plus any coloured perspective and a mood board, suddenly starts to look like a lot of work and thought has gone into the design.
So if you want to improve your sales and get more of your gardens built, spend a little extra time ‘prettying-up’ your research drawings and use them as part of your presentation.
Duncan Heather is director of the Oxford College of Garden Design and MyGardenSchool and one of Europe top garden designers
I came across a very interesting blog by Garden Design Lisa Cox this week in which she laments the insistence of clients, to use their own builders for the garden, rather than getting a specialist landscape contractor involved.
Lisa believes that “landscaping is a completely different discipline to a house building project.” and to a certain extent this is true, but when it come to the hard landscape construction, I would be just as happy to employ a good builder, as I would a good landscaper.
The construction of walls, paving and steps are the same in both house and garden, decks and pergolas, are comparable to laying floor and roof joist and even pond construction is similar to tanking a basement or cellar.
Lisa is not alone in this view, as many garden designers share this belief, but some of them don’t appreciate that most, if not all the problems they experience using builders, boils down to their inability, or lack of training, to communicate the construction process and detailing sufficiently.
Very few garden design courses cover professional practice in anyway near enough detail so that students can go out and write sufficiently detailed contracts.
At the Oxford College of Garden Design, we were so worried about this, that we ended up writing our own model specification document, which has now been adopted as the industry standard.
We have just donated it to the Society of Garden Designers in the hope that they may finally start taking some responsibility for garden design education and insist that courses teach specification writing properly and to a minimum standard.
As for Lisa; she does produce both construction detail and a specification document as part of her contract documentation. May be as she says, she has been unlucky with her builders.
One thing I would say is that the landscapers profession does tend to be less chauvinistic and sexists and may be Lisa was unfortunate enough to run into some dinosaurs who believe women should be in the home and not on the building site……….But that’s a discussion for another time!
Do visit Lisa Cox’s website and also subscribe to her excellent blog
This article, I admit to writing with a massive pinch of salt, because most people understand that the computer is only as creative as the person using it.
At The Oxford College of Garden Design we teach VectorWorks Landmark, but this is expensive and more complex than most homeowners need. For those wishing to have a go them selves, we have several 4 week online courses at MyGardenSchool on both planting and landscape design. The following list of software I hope may be of interest to those wishing to have a go themselves.