117. 1) Geometry and proportion are all part of the formal style; 2) Gardens developed gradually with Egypt beginning about 2000BC; 3) Chinese gardens were cool, shady havens of order. 4) Egyptian gardens were symmetrical and precisely planned around canals or square reservoirs filled with fish; 5) The "chop and change" approach of the late 18th and then 19th centuries is the basic principles of informal landscape design.

118. 4. Draw some sketches of formal gardens.

119. TEXT 2

120. Read and translate the text into Russian.

121. Informal and Formal Characteristics of Landscape Design

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123. Most formal-style western gardening has its origins in Persian/Mediterranean style gardens which were probably copied from the Egyptians. The Persian-style pleasure garden stretched eastward to India and westward to Spain with the spread of Islam.

124. The Romans also adapted Egyptian-style gardening, which spread throughout the Roman Empire. The first to make gardens in Britain were Romans and apparently the earliest monastery gardens were made in a simple, utilitarian but similar Roman style. Simple castle gardens followed the medieval monastic style and did the significantly more ample gardens of the Tudor monarchs.

125. Slowly but surely, new ideas and variations in architecture and art were picked up and adapted by the Italians from Roman designs and developed into a distinct and at times grandiose style of garden design. Beginning in the 14th century, this fashion moved steadily east and westward from Italy and by the 17th century had spread throughout most of Europe. The French and Dutch followed these trends with variations of their own and the most notable were, of course, for royalty. The most prominent French garden of the time was Versailles, fashioned by Andre Le Notre, gardener to Louis XIV. It followed that every European monarch of any self-importance had to have his or her own Versailles although admittedly in a reduced fashion.

126. The basic principles of informal landscape design are a little more

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128. Simplicity and sensitivity to "organic" or natural appearing growth;

129. Curves and gentle lines;

130. Naturalistic arrangements of planting. Once more, although somewhat less precisely than with formal styles, we can trace the evolution of informal design principles through several national style developments. The Chinese, as population increased and cities became larger, kept for the most part to their original naturalistic ideas, but scaled them down to "Lake and Island Gardens," nature in miniature. The Japanese, emulating the Chinese, developed very structured and controlled gardens of romantic naturalism.

131. The wonderful highly architectural and tightly controlled Italian Renaissance gardens were literally let go in the 17th century. They began to be overshadowed by areas of wild wood and the naturalistic grottoes that were ail the rage.

132. By the middle of the 18th century, ideas were drifting into France from Asia where nothing in a garden was symmetrical and from England where gardens were being remodeled on naturalistic lines. However, after the French Revolution, the style that can be termed Anglo-chinois hit France with force. No mingling of styles was too bizarre. The English style, le jardin anglais, has co­existed, for better or worse, with the French style ever since.

1. What can you say about informal landscape design and its characteristics?

2. Explain how you understand the following word combination: "Lake and Island Gardens"

3. Find the English equivalents in the text for the following Russian word-combinations:

133. 1) первые, кто разбивал сады в Британии; 2) одновременно с распространением ислама; 3) медленно, но уверенно; 4) идеи проникали во Францию из Азии; 4) сады итальянского Возрождения; 5) в саду не было ничего симметричного; 6) свой собственный Версаль; 7) монастырский средневековый стиль.

134. 4. Write a report about Andre Le Notre, gardener to Louis XIV.

135. Unit VI

136. Basic Principles and Elements of Landscape Design

137. TEXT 1 •

138. Read and translate the text into Russian.

139. Colour in Landscape Design Landscaping combines elements of art and science to create a functional,

140. aestheticallv pleasing extension of indoor living to the outdoors. One initial

141. purpose of landscape design is to blend man's technology (house or building) into the natural surroundings. To work toward a desirable landscape design, the landscape horti-culturist must have a working knowledge of art elements and design principles.

142. ELEMENTS OF ART

143. Elements of art include but are not limited to colour, line, form, texture and scale. These elements are never independent of each other, but we will discuss their individual natures before considering the interactions.

144. Color variation can best be explained by use of a color wheel. Primary colors are red, blue and yellow. Orange, green and violet are called secondary colors because they are combinations of two primary colors.

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146. color on the color wheel, while shade is a dark value and is created by adding black to the pure color on the color wheel. Black, white and grey are neutrals and are compatible with any color. Light colors and tints tend to attract attention

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148. Colors are combined into color schemes for practical applications. Three basic color schemes are monochromatic, analogous and complementary. A monochromatic color scheme consists of different tints and shades of one color and is seldom achieved in its pure form in the landscape. An example of an incomplete monochromatic color scheme would include white and pink flowers with a background of a dark pink and red brick house.

149. Analogous color schemes combine colors which are adiacent or side-bv-side on the color wheel. An analogous color scheme could include green, blue-green, green-blue, blue and violet blue. This color scheme could be achieved by varying the foliage color from green to blue-green or by using pyracantha with orange-red berries against a red brick house.

150. Complementary color schemes combine colors directly across the color wheel. For example, red and green would be complementary colors. A

151. complementary color scheme may be achieved by using plants with green foliage against a red brick house.

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153. the seasons change. White and pink azaleas flowers can yield a monochromatic color scheme with a red brick house. The green azalea foliage would produce a

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155. should consider the color changes throughout the year when developing a landscape plan.

156. Colors can be used to visually change distance perspective. Warm colors and light tints like ^red, orange, veiiow and white advance an obiect or a^rea toward the observer. These colors and tints placed near the foundation of a house would make the house appear closer to the street. Cool colors and deep shades like blue, green and black recede and can be used to make the house appear farther from the street. Cool colors are restful while warm colors express action and are best used in filtered light or against a green or dark background.

157. Color can be used to direct attention in the landscape. Due to this strong characteristic, color should be used carefully. When color is used for this purpose, consideration must be given to year-round color not only to seasonal color. Consideration may also be given to the time of day when this color will be enjoyed. White or light tints could be used to create interest on a patio. Dark colors would add little to family enjoyment of this area as the daylight hours passed.

1. Read the text again, divide it into logical parts and entitle each part so as to make a plan.

2. Ask 10 special questions on the text for your groupmates to answer.

3. Give the definition of a color wheel.

4. Explain how you understand the term: "analogous colors".

5. TEXT 2

6. Read the text, try to understand as much as possible of its content.

7. Elements of Art: Line, Form, Texture, Scale Line is related to eye movement or flow. The concept and creation of line depends upon the purpose of the design and existing patterns. In the overall landscape, line is inferred by bed arrangement and the way these beds fit or flow together. Line is also created vertically by changes in plant height and the height of tree and shrub canopies. Line in a small area such as an entrance or privacy garden is created by branching habits of plants, arrangement of leaves and/or sequence of plant materials.

8. Straight lines tend to be forceful, structural and stable and direct the observer's eye to a point faster than curved lines. Curved or free-flowing lines are sometimes described as smooth, graceful or gentle and create a relaxing, progressive, moving and natural feeling.

9. Form and line are closely related. Line is considered usually in terms of the outline or edge of objects, whereas form is more encompassing. The concept of form is related also to the size of an object or area. Form can be discussed in terms of individual plant growth habits or as the planting arrangement in a

11. Plant forms include upright, oval, columnar, spreading, broad spreading, weeping, etc. Form is basically the shape and structure of a plant or mass of plants. Structures also have form and should hp considered as such when designing the area around them.

12. Texture describes the surface quality of an object that can be seen or felt. Surfaces in the landscape include buildings, walks, patios, groundcovers and plants. The texture of plants differs as the relationships between the leaves, twigs and branches differ. Coarse, medium or fine could be used to describe texture but so could smooth, rough, glossy or dull.

13. Scale refers to the size of an object or objects in relation to the surroundings. Size refers to definite measurements while scale describes the size relationshio between adiacent obiects. The size of Ы an tines and buildings compared on the human scale must be considered.

1. Read the text and find the key words which would reflect the main idea of the text.

2. Read the international words from the text and explain their meaning:

14. object, medium, columnar, structure, patio, texture, concept, vertically, stable, relaxing, progressive, natural, individual, privacy.

3. r'iiiu in iiie iext iiie sentences with iiie verbs in passive ami translate litem into Russian.

4. Summarize the ideas of Text I and Text II and give the definitions of the terms: tint, scale, texture.

15. TEXT 3 , .

16. Read the text and translate it into Russian.

17. Principles of Design (part 1)

18. Color, line, form, texture and scale are tools which are used in combinations to adjust design principles. Design principles include unity, balance, transition, focalization, proportion, rhythm, repetition and simplicity. AH these principles interact to yield the intended design.

19. Unity is obtained by the effective use of components in a design to express a main idea through consistent style. Unity is emphasized by consistency of character between units in the landscape. Use of elements to express a specific theme within units creates harmony. Unity can be achieved by using mass planting and repetition.

20. Unity means that all parts of the composition or landscape go together; they fit. A natural feeling evolves when each activity area belongs to and blends with the entire landscape. Everything selected for a landscape must complement the central scheme and must, above all, serve some functional purpose.

21. Balance in design refers to the equilibrium or equality of visual attraction. Symmetrical balance is achieved when one side of the design is a mirror image of the other side. There is a distinct dividing line between the two sides. Equal lines, forms, textures or colors are on each side of a symmetrical design.

22. Asymmetrical balance uses different forms, colors and textures to obtain balance of visual attraction. These opposing compositions on either side of the central axis create equal attraction. For example, mass may be opposed by color or linear dimension by height.

23. The landscape designer must skillfully manipulate the design elements to create asymmetrical balance. The central axis must be predetermined and then developed by the elements of art and other principles of design.

24. Transition is gradual change. Transition in color can be illustrated by the radial sequence on the color wheel (monochromatic color scheme) previously discussed. Transition can be obtained by the arrangement of objects with varying textures, forms, or sizes in a logical sequential order. For example, coarse to medium to fine textures, round to oval to linear structural forms, or cvlindrical to ^lobular to ⁿrostrate ⁿIants. An unlimited number of schemes exist by combining elements of various size, form, texture and color to create transition. iiememDer, transition rerers to me 3-dimensionai perspective 01 composition, not just the flat or facial view.

25. It is possible to use transition to extend visual dimensions beyond actual

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28. be used to enframe and/or focalize a lake scene. Transition of piant materials along these lines can make the scene become a part of the landscape. Transition from taller to shorter plants with textural changes from coarse to fine along focal lines emphasizes the beauty of a lake scene. Transition from shorter to taller plants and from fine to coarse textures would enframe the scene and makes it appear closer, like a painting on a wall. Generally, transition assists in the gradual movement of a viewer's eye to the design and within it.

29. 1. Check if you remember the following verbs:

30. to yield, to emphasize, to plant, to dominate, to relate, to design, to achieve, to create, to attain, to reduce, to involve, to compare, to lead, to direct, to curve, to refer, to weaken, io strengthen, to attract, to adjust.

2. Write out the irregular verbs in three forms. Use a dictionary if necessary.

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