However, it is strongly suggested that the words natural and freeform not be used to replace the term curvilinear. One guideline of the curvilinear theme is to have all intersecting curved lines meet each other at right angles (90 degrees; Figure 10-40). The flowing, sweeping lines of a curvilinear design also provide a great deal of movement for the eye. Another reason for not using the term natural is to try to diminish the preconception that “everything in the landscape should be naturally arranged.” Also, calling one theme natural implies that others are unnatural, which reflects a negative attitude. This type of design is also difficult to maintain. This approach will eliminate acute angles as discussed previously. scheme resemble the flowing lines seen in nature. Likewise, freeform seems to denote something of little or no structure, like a free spirit. Although this creates an apparently smooth
Figure 10-41
Intersecting lines should not create acute angles in a curvilinear theme. There are times when curved forms are difficult to manipulate in confined areas and sometimes result in insufficient use of space for outdoor rooms (Figure 10-43). and gradual transition between lines, it also creates acute angles, and thus implementation problems. ———————————————— WO’——————————————————- $ Figure 10-36
Interest can be created by varying the length of the radii and extended radii and/or amount of rotation. The curvilinear theme has a passive, relaxing, and contemplative character. The term curvilinear is sometimes considered to be synonymous and occasionally used interchangeably with natural and freeform. The landform may be rolling in profile in a curvilinear theme or have an outcropping of stone as contrasting accent. Geometric structure, although very subtle, still exists in a curvilinear theme. A curvilinear theme is not natural. The curvilinear theme uses portions of different circles’ and ellipses’ circumferences for its overall form. For many designers, this suggestion may seem hard to accept because there usually is a tendency to have curves taper out into other lines (Figure 10-41). In reading this book, it is hoped that one will come to appreciate that outdoor spaces need not always be “naturally arranged” in order to be functionally and aesthetically successful. Figure 10-37
The center of the circle should be a prominent focal point created by special pavement or another element. The theme is a structured system even though the soft curves inherent to this
Figure 10-32
Weak circular compositions are created when there is too much or too little overlap among the circles. Curving edges between areas are apt to captivate the eye and lead it to another portion of the composition in a smooth fashion. It is also important to establish bold and generous curves in curvilinear compositions in combination with smaller curves to give the design variety and interest (right side of Figure 10-42). Unlike the overlapping and concentric circle themes, the curvilinear theme relies primarily on “the soft touch,” in which portions of circles and ellipses connect with each other in smooth, continuous transitions (Figure 10-39). Too many curves with small radii will make a design look busy and sometimes erratic (left side of Figure 10-42).
