Posts Tagged ‘Juxtaposition’

Modern Landscape Design in Houston Texas

December 8th, 2009

Modernism, in the context of landscape design, is a result of forms and functions that reflect the need for outdoor living spaces that enhance contemporary lifestyles. As Garrett Eckbo, one of the central figures in modern landscape architecture, said, landscape design is the “arrangement of environments for people.”

Contemporary garden design tends to focus on scale as opposed to formal landscape designs that are based on axial relationships. It also foregoes the more classic landscape design forms and larger scale from Greek, Roman, and classical architecture traditions. This design motif became popular in the 1950′s baby boom, particularly in California where weather and lifestyle was very conducive to this innovative style.

In modern landscape design, boundaries between areas of color, textures and shapes are undefined-or conversely, sharply defined. Color and composition create the emotional response. Combining freshness and flair, these designs use dramatic geometric shapes to create a point of view that is fluid and natural. Water and light are often used, as in artfully-lit outdoor water fountains, to enhance the sensual loveliness and liveliness. The designs are arresting, both close up and far away.

Form and Function in Modern Landscape Design

As the maxim says, form follows function. Modern landscape design is an aesthetic that shows only what is necessary while often leaving surfaces exposed. The simplicity of modern design reveals itself in that every form has a function, even when that function is merely to engage the senses.

It is possible, sometimes desirable, to use modern design techniques without creating a high-tech look. That is, to make use of horizontal and vertical planes that manufacture a modern sculpture effect-and let colors and plantings evoke a warm, welcoming feel. It is that juxtaposition-hard and soft, linear and non-linear, energetic and restrained-that is the essence of modern landscape design. “Less is more” is the modern landscape design mantra. A huge plant palette is not necessary. Rather, it is how plants, materials, and textures are used and mass them together that create the contemporary effect.

The architecture of the house needs to be carefully considered when using a contemporary garden design. If the house is bold, the grounds need to be strong also.

The home and landscape can be tied together through selective use of plantings or the intelligent placement of a hardscape feature, such as an organic approach to the front door.

Using Today’s Technology in Your Modern Landscape

Naturally new technologies in building materials are a big component of modern landscape design, which can mean a new approach using old materials or a new approach using new materials. Often, it is the contrast of material usage that suggests modernism.

Concrete, with its sturdiness and malleability, has won a firm place in contemporary garden design. Its cool, gray color alone establishes its credibility. Its uses run the gamut from flooring to columns to stark, amorphous benches. In addition to concrete, advances in steel and glass technologies, plus construction methods, can be even further exploited within the modern landscape design.

Often materials, such as stone, metal, plastics, steel and glass, are left in an exposed or raw state. Part of the beauty of these materials derives from their interplay with nature-the way steel rusts to a warm, burnt look, for instance.

The Spaces of Modern Landscape Design

Landscape themes such as English, Asian, Zen gardens, natural, Japanese or modern identify not only your property but also your tastes and style. Color, form, line, scale, and texture are your means of expressing those landscape design preferences.

Your choices can be demonstrated in the plants and hardscapes you choose. Beauty can be a maple imported from Japan. It can also be the wild grass native to the Texas coastal plains. You may have outdoor works of art to display in your landscape. Or you might use a stream that ends in a waterfall as an ever-changing sculpture of sound and movement. Landscape lighting is another crucial tool of contemporary garden design as it creates ambiance and lets you enjoy your landscape night and day.

Other uses of space in contemporary designs include:

• Outdoor rooms for living. These living areas, in effect, make your home bigger. They also serve to create transition areas that connect the indoor and outdoor spaces. In this regard, this style is similar to a Mediterranean landscape design with its underlying principle that the outdoor living area should be just as enjoyable and functional as the home’s interior.

• Outdoor kitchens. The center of outdoor entertainment, outdoor kitchens provide a natural gathering place. Their design should complement both the house and the landscape. Above all, their design should be functional.

• Luxury swimming pools. When designed from a modern viewpoint, luxury swimming pools are anything but a boring rectangle or kidney-shaped pool. They become sophisticated and exciting, eye-catching and mesmerizing. Often, you can combine them with an outdoor water fountain that eliminates some redundancies while adding vitality to your overall design.

Thoroughly Modern

Modern landscape design is even more appropriate today than it was 50 years ago. Jeff Halper with Exterior Worlds says, “Contemporary garden design has gotten only better with time. With today’s busy lifestyles, there is less time for gardening. Also, we need to use our gardens for multiple functions these days-sanctuary, entertainment, a place for children to play safely. Modern landscape design addresses all these wants and needs.”

Robert Irwin, the landscape architect of the Getty Center in Los Angeles, puts it this way: “…maybe the world is an art form [and] the gardening of our universe” reveals our participation in that work of art.




By: Jeff Halper

Curious About an Orangery

November 10th, 2009

Earlier this week I received an email from my dad asking if I would be prepared to help him build an orangery. My initial reaction to this unusual request was to wonder what is a orangery? In the back of my mind I was hoping that it was the latest must have children’s toy that would be all the rage this Christmas, its construction would be fun as well as fairly easy. Knowing my father I had a strange feeling that whatever it actually is that building one was not going to be easy or a straight forward task. For my benefit, though that was probably not his primary intention, he included links to the two websites with the orangeries that he liked. I did not realise that he had already narrowed his search down to firstly this classical style orangery from Amdega and this one, a more contemporary looking orangery from Portland Conservatories.

When I looked at the two orangeries that my dad intimated that he liked what first struck me is that they could not be further from each other in style if you tried. I work as a graphic designer and I love nothing more than to mix different styles in my work. Contrasting contemporary design elements with classical elements can when the intended juxtaposition works create an entirely new eclectic design style. In my opinion design, be it graphic, interior or architecture all works on the same set of principles. These principles are centred round form, function and space and their relationship with one another. I like to think that experience of being one type of designer provides me with a good comprehension and appreciation of other types of design. I am not an architect but I think that I have enough knowledge of design to be able to meaningfully communicate with an architect in a mutually shared language. Some of the best graphic designers that I have worked with started out as architects. When they made the switch from designing buildings to designing for computer screens were able to transfer their existing skills over to this other medium successfully.

My main concern is that my father was going to choose his new orangery without taking into account the building that it was going to be attached to. A classical looking orangery attached to a modern house could easily stand out like a sore thumb in the same way as a contemporary design orangery would stand out against a classically designed house. It would not be impossible for this type of contrast to work successfully, but it would not be easy to achieve a clash of styles which would work together, to compliment each other as opposed to competing each other. Using difference as the central element in design can bring new life to existing designs. When it works the results can make for a fantastic spectacle, when it fails the potential for a monstrous contraption is immense. The last thing any designer wants to do is to leave behind a permanent eye sore.

This is essentially the same debate that is currently going on around the future of Edinburgh’s historical old town. The old town has until now managed to preserve its medieval street layout and pre-reformation architecture. This is why Edinburgh’s old town is an instantly recognisable world famous icon. Recently though the decision was taken to allow new buildings being constructed within the old town to feature contemporary designs. A few minutes walk from the historical old town is Princes Street, Edinburgh’s main shopping street. In the days before town planners realised that it was important to preserve historical architecture they allowed historic buildings to be demolished and replaced with what were at the time of their construction contemporary buildings. Shops consisting entirely of glass fronts now sit in-between the original Georgian style buildings. I don’t think that anybody would even pretend that there is any kind of harmony or play between these two contrasting styles. I realise that if design is to continually evolve then design as a discipline must move, experiment, grow and react to what has come before. I don’t believe that current design can be held prisoner to what has preceded it, like any other medium it must continue developing and allowed to be the author of its own narrative.

My dad has absolutely no interest in debates in modern architecture; he is probably even blissfully unaware of the existence of these debates. He has made himself a protagonist in the debate through his actions. I have a vision of him deciding to build a sleek contemporary or perhaps even a futuristic looking orangery that would not look out of place in the a dystopian sci-fi version of the future. I do not have a problem with that kind of design, I enjoy contemporary architecture, but I am not sure would welcome it when it is attached to his classical style Edwardian house. However you look at it I don’t believe that it will be easy for these two styles to work together or compliment each other.

I believe that my first task if I am going to help my dad with his latest pet project will not to be lending my services as a labourer but to act as a design consultant and make sure that he makes the right decision based on sound advice and not superficial concerns. At least though I know what an orangery is now.




By: Cameron Strachan