Chapter 14

The Oval

The oval, a seductively elegant jewel among shapes, is another genre of curved geometry that
can be employed to structure the landscape. Equally appropriate in a timeless symmetrical design
as a cutting edge contemporary landscape, the oval is a muted, yet energetic form with numerous
idiosyncrasies and design possibilities. Th is chapter examines the following aspects of the oval
in landscape architectural site design:

 Geometric Qualities
 Landscape Uses
 Design Guidelines

Geometric Qualities

An oval is an oblong, egg-like shape, most easily composed of arcs from four overlapping circles
that collectively defi ne a continuous, flowing, and symmetrical enclosure. While this concept of
overlapping circles serves well for defining most ovals in the landscape, it should be noted that
the oval can also be fabricated from more than four simple arcs, some of which may be
compound in nature. In whatever manner it is created, the oval is always longer than wide and
encircled by a smooth, fluid edge. The oval possesses many geometric qualities of the circle,
rectangle, and triangle, yet remains its own distinct form. The following paragraphs detail the
traits that are similar to these other forms as well as those that are specific to the oval it self.

Landscape Uses

There are a number of uses that the oval is inherently suitable for in the landscape. Some of these
uses are similar to those of the rectangle and circle although the applications that are set forth
here exploit the oval’s distinct qualities. The fundamental uses for the oval in landscape
architectural site design include spatial foundation, compositional accent, unifying open space,
gathering node, and visual foil.

Design Guidelines

Given the similarities between the circle and the oval, it only stands to reason that many of the
guidelines off ered in previous chapter for the circle also apply to the oval. In particular, the
design guidelines for connecting circles to other forms and how circular spaces should relate to
the edge of a site directly apply to the oval. Th e reader is referred to Chapter 13 to review these
guidelines. Additional recommendations for designing with the oval are off ered in the following
paragraphs.

Chapter 15

The Curve

The last type of circular form is the sensuous genre of shapes composed of fl owing, curved
lines. Curvilinear shapes are the most lyrical of all the geometries discussed so far, appealing to
the right brain’s sense of feeling and intuition. Curvilinear geometry is the antithesis to
orthogonal forms, embodying the unpredictable and the emotional. Moreover, curvilinear forms
represent nature and occur in the environment where wind and water shape the earth. Human
created curved forms are inspired by nature and have been used in many landscapes including
Chinese and Japanese gardens. In western culture, curved geometry emerged from the 18th-
century English Landscape style and was epitomized by William Hogarth’s statement “…the
waving line is the way to beauty” (Mann 1993, 60). The modern design era witnessed the use of
curved forms by such renowned landscape architects as Th omas Church and Roberto Burle
Marx. Curvilinear geometry remains a widely employed structuring system in the contemporary
landscape especially where earth, plant materials, and/or water prevail on residential sites, parks,
naturalized landscapes, and the like. Th is chapter explores the following aspects of curvilinear
forms in landscape architectural site design:

 Geometric Qualities
 Landscape Uses
 Design Guidelines

Chapter 16

The Organic

The last typology of forms is the organic, a group of shapes that is derived from natural elements
and patterns (16.1). Organic forms are the antithesis of orthogonal forms examined earlier in the
book and are the least infl uenced by human guidance. Landscape site designs that incorporate
organic forms do so by directly copying and integrating naturally occurring shapes or by
abstracting them, using them more as a source of inspiration.Organic forms have not been
extensively used in the evolution of western gardens and landscape designs. In fact, it has been
suggested that western cultures have often attempted to control and subdue nature by imposing
human geometries on the landscape (McHarg 1971, 26, 70–71). Th e 17th-century English
landscape style is perhaps one exception although this was a romanticized interpretation of
nature (15.21). By comparison, organic forms have historically been the basis of Chinese and
Japanese gardens by copying, abstracting, and sometimes miniaturizing natural landscapes. Th
ese gardens likewise represent a philosophy that the natural world is a source of knowledge and
wisdom.There is an increasing desire among contemporary landscape architects to incorporate
organic forms in their designs. Th is no doubt results from the ever-expanding human, urban
landscape and the simultaneous need to design environments that are sustainable and in sync
with natural processes. Th is chapter studies the most prevalent natural forms and how they can
be used as the basis of landscape architectural site design. Th e specific sections of this chapter
are:

 Definition
 Typologies
 General Landscape Uses
 Typological Landscape Uses
 Transformation
 Design Guidelines