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The app is well-written with a clean, user-friendly design. When you add the date that you planted, you will see a progress bar next to Free for Android This app helps you plan gardens with a size range of 1×1 to 4×8. If you currently have a work vacancy, please email [email protected] to place your entry here. Adverts of up to words are free to members and £ (+VAT) for skills, including the ability to sketch and develop designs on paper as well as Landscaping is looking for a Freelance Garden Designer - post date 25/10/. Find the best garden designs & landscape ideas to match your style. Browse through colourful images of gardens for inspiration to create your perfect home.

In the process, they spread features of Persian and Byzantine gardens across the Mediterranean as far as the Iberian Peninsula. Most characteristic of these gardens was the use of water—the ultimate luxury to desert dwellers, who appreciated it not only because it allowed plants to grow but also because it cooled the air and gratified the ear with the sound of its movement.

It was commonly used in regularly shaped, often rectangular, pools. The water was kept moving by simply designed fountains and was fed by narrow canals resembling agricultural irrigation channels. Because water was rarely abundant, the pools were shallow but increased in apparent depth by a blue tile lining.

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These pools of water graced Islamic gardens—such as those of the Alhambra in Granada—that resembled the Hellenistic colonnaded courtyard. The gardens provided shade, excluded hot winds, and created the sense of being in a jewelled private world. Water mirroring the sky gave an impression of spaciousness and introduced lightness, brightness, and an air of unreality.

Whereas gardens of the Alhambra type were architecturally conceived within the total plan of a building, some of the more extensive Timurid gardens and their derivatives, the Mughal gardens of India, were pleasances of water, meadow, trees, and flowers, in which buildings took a subordinate place. Although these garden buildings were permanent, their subordinate role and the lightness and luxuriating frivolity of their design mark them as heirs of the casually positioned tents seasonally erected in hunting parks.

There were also gardens of strictly architectural design—huge walled enclosures with corner towers, a central palace, regularly disposed avenues, and tanks of water. Deer and pheasants were kept in these gardens, which combined the quality of hunting park and of hortus conclusus, or closed garden. Trees were planted sometimes in regular quincuncial patterns one in the middle and one at each corner of a square or rectangle but more often freely.

In all types of Islamic gardens, flowers were lavishly used. Their presence was even simulated in garden carpets and in the woven hangings that were used as temporary screens. Influential on later Western practice were the parks made by the Saracen emirs of Sicily.

Western European In Europe beyond the limits of the Islamic conquest, the destruction of civilized society by the barbarian tribes had been nearly complete, but the physical remains of the past shaped the reviving future: Security and leisure existed only in the monastic system, which also preserved some of the traditional skills of cultivation.

For some time the only type of garden was the cloister, with its well, herbs, potted plants, and shaded walk. Then secular gardens began to appear, but they were usually of limited extent, confined within the fortifications of a castle and often raised well above ground level on a battlemented turret.

These gardens were rectangular, with the traditional division into four parts by paths, the quarters again subdivided according to the amount of ground available and the convenience of cultivation. At the point of principal intersection was a well, which, when elaborated, became the vertical feature of the garden. Seats—often of turf—were constructed in the walls.

Many flowers were grown, but their season was short; after June and often earlier, the beds were flowerless. More extensive and elaborate gardens were rare. In 13th-century Italythrough the influence of the Holy Roman emperor Frederick IIwho had spent much of his youth in Sicily, the example of the Saracen emirs was felt in Apulia and Naples. The Triumph of Death, painted by the Florentine artist Andrea Orcagna Pisa, Campo Santoshows a garden of considerably greater extent than the cloister or battlement type.

Gardens like this existed also in Lombardy, where the court of Gian Galeazzo Viscontithe founder of the great walled park of Pavia, cultivated the arts of civilized life. In describing the Royal Gardens at Naples, the writer and poet Giovanni Boccaccio speaks of statues disposed regularly around a lawninterspersed with marble seats.

Also significant was the garden of Hesdin in Picardy, which became famous throughout France for its automata and water tricks. It was made by a Crusader who, having returned to France by way of Palermo inno doubt incorporated in his garden what he had seen of Saracenic gardens there and in Syria.

Hesdin was an exotic creation without parallel in its northerly location for several centuries. The change began near Florence, where the old medieval enclosures began to open up. The rectangles, which had been dissociated, were now sited one behind the other, thus prolonging the main axis, which was now aligned on the centre of the dwelling.

This change inevitably introduced the idea that house and garden were a coherentcomplementary whole. And, because villas were increasingly sited for amenity rather than defense, gardens became less enclosed, more susceptible first to visual, then to actual extension. The unity of house and garden, together with the need for physical adjustment to the sloping sites favoured by Classical precedent, threw the planning of the new Renaissance garden into the hands of architects.

Most influential was the garden courtyard designed by Donato Bramante at the Vatican to link the papal palace with the Villa Belvedere; the uneven site and the disparity in bulk of the two buildings was overcome with terraces and stairways. It remained an enclosed garden but one far removed from the earlier cloistral courtyards.

The garden of the Belvedere combined the function of an open-air room with that of an outdoor sculpture gallery. The ingredients of the Renaissance garden thus separately established were united in varying proportions.

There is no adequate evidence that this type of garden had an exact equivalent in the Classical period, although there is evidence that each of its elements existed. The variation in style among Italian gardens is considerable and is due to not only the date they were made, the exigencies of the site, and regional variation but also their social function.

The scale of the garden compartments at the back of the Villa Gamberaia at Settignanofor example, is small in contrast with the extensive view over Florence from the front and thus suggests intimate use by members of a small household.

The more extensive parterre garden an ornamental garden with paths between the beds of the Villa Lante at Bagnaia begun is designed neither for solitary enjoyment nor for a crowd but for a select, discerning company—as is the garden of the far more splendid Villa Farnese at Caprarola completed Unlike the less copious stream of the Villa Lante garden, which quietly emphasizes the central axis, the Tivoli stream is ostentatious. Unless used ceremonially, they are lifeless and arid. The ruined garden associated with, though detached from, the Orsini Castle at Bomarzo is a remarkable aberration probably influenced by accounts of visits to the Far East by a locally born traveller, Biagio Sinibaldi.

Its original layout consisted of a grove in which were concealed the stone giants and strange monsters that now astonish visitors. Elaborate hillside fountain in the gardens of the Villa d'Este at Tivoli, Italy, midth century. Beds were divided into decorative geometric compartments by trimmed herbs, rosemary, lavender, or box. In general, more emphasis was given to evergreens; ilex, cypress, laurel, and ivy gave shade and were an enduring contrast to stonework.

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The first sign of prolongation and calculated extension of vision beyond the garden proper appeared in the grounds of Dampierre. There the moat that formerly surrounded French castles became an ornamental body of water on one side and a decorative canal on the other. The French version of the Italian garden was created in the plain of north France, which largely conditioned the manner of its development.

Elsewhere, grandeur on the scale that competitive pride demanded was achieved by extraordinary extension: The French 17th-century garden, a manifestation of Baroque taste, required variety as well as unlimited vista and achieved it with fountains, parterres, and lesser gardens disposed within the boscages wooded enclosures that flanked the central axis.

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Distinctively French was the unified and elaborate treatment of the compartmentalized garden beds, which the Italians had made in a variety of forms. These compartiments de broderie were arabesques, sometimes of box edging and flowers but more often of coloured stones and sand. The Persians had copied their flower gardens on carpets and taken them indoors, but the French laid out their grounds in the form of carpets.

The French garden was marked by a ruthlessly logical extension of practices that had been empirically evolved in Italy. French cultural dominance of Europe in the early 18th century led to an almost universal adoption of Versailles as the model for palatial gardens. Impressive exercises in the same manner were carried out in Germany and Austria. In Holland also, the example of the French garden was irresistible, although local conditions and national temperament led to regional variation.

Because Dutch canals were busy highways, they generally flanked gardens rather than constituted the main axis. No luxury in Holland, water was less extravagantly used than in drier, hotter climates.

Moreover, fountains were less common because the absence of high ground required that they be power-driven.

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Because stone was scarce, terraces were usually held by turf banks rather than by retaining walls, and sculpture was often of lead. Another sculpture typical of the Dutch garden was topiary: Social conditions made the extension of a geometric garden easy, for a man-made landscape already existed in the intensively cultivated Netherlands.

In Spainaridity as well as Islamic tradition perpetuated the patio garden, a room of air and shade in the Greek peristyle tradition. Although a famous layout in the French style was made on high ground at La Granjawhere the cooler air and ample water made it acceptable, the Classical extension garden remained basically alien to the Iberian Peninsula. Before the 18th century, geometric regularity had been applied in great details of design and in small.

England was committed to a version of the French geometric extension garden but with an emphasis on English grass lawns and gravel walks. Whereas the typical French vista was along the main axis, with subordinate vistas at right angles to it, in the two most influential gardens in England, St. With the accession of William and Mary —Dutch influence led to widespread use of topiaried yew and box. In 18th-century Englandpeople became increasingly aware of the natural world.

Rather than imposing their man-made geometric order on the natural world, they began to adjust to it. Literary men, notably Alexander Pope and Joseph Addisonbegan to question the propriety of trees being carved into artificial shapes as substitutes for masonry and to advocate the restoration of free forms. Trees, for example, were allowed to assume their natural forms, and a large expanse of water was redesigned into two irregularly shaped lakes. Walpole explains the purpose of the visual unification: The contiguous ground of the park without the sunk fence was to be harmonized with the lawn within; and the garden in its turn was to be set free from its prime regularity, that it might assort with the wilder country without.

Much of England was covered with new parks, traversed by rides and avenues that primarily were conceived as visual extensions of the garden paths.

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His landscapes consist of expanses of grass, irregularly shaped bodies of water, and trees placed singly and in clumps. Although the adherents of the new English school of garden design were in agreement in their abhorrence of the straight, Classical line and the geometrically ordered garden, they did not agree on what the natural garden should be.

Unlike Brown, for example, the taste for the romantic and the literary led many to seek inspiration in the dramatic and the bizarre, in the remote past, and in remote, exotic places. Another school of opinion created what might be called the English garden of poetic bric-a-brac.

The aim in this garden was to create an air of accident and surprise and to arouse varied sensations solemnity, sublimity, terror in the viewer—sensations evoked by associations with the remote in time and space. Wandering through the grounds, one came upon Classical statues, urns, and temples; Gothic ruins, ivy-covered and inhabited by owls; or Chinese pagodas and bridges.

By the enthusiasm for this style had diminished in England, but in continental Europe the poetic bric-a-brac garden le jardin anglo-chinois, or le jardin anglaisas the French called it was almost as widely emulated as Versailles had been.

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In Italy, for example, Renaissance gardens were destroyed to make way for the new fashion, as at the Villa Mansi near Lucca. The jardin anglais was to be found even at Queluz in Portugal and in the Potsdam garden of Frederick the Great of Prussia.

Although the emphasis in Italian Renaissance gardens, in the Classical Baroque gardens of France, in the lawns and gravelled walks of 17th-century England, and in the Brownian park garden was upon design, they had rarely been totally without flowers. In most gardens flowers were grown, sometimes in great numbers and variety, but flower gardens in the modern sense were limited to cottages, to small town gardens, and to relatively small enclosures within larger gardens.

The accessibility of new plants, together with avidity for new experience and a high-minded concern with natural science, not only gave renewed life to the flower garden but was the first step toward the evolution of the garden from work of art to museum of plants.

A compromise between the new flower garden and the Brownian park was effected by Humphry Repton. He was largely responsible for popularizing the open terrace overlooking the park, which frankly admitted the different functions of park and garden and also emphasized their stylistic disharmony.

Loudon in the midth century. Loudon urged that garden making be taken out of the hands of the architect, the painter, and the cultivated dilettante and left to the professional plantsman.

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The undiscerning use of the new palette that importation and plant breeding had made available was so patently an aesthetic disaster that by the end of the 19th century attempts were made to break its hold.

The architect Sir Reginald Blomfield advocated a return to the formal garden, but to this, insofar as it required dressed stonework, there were economic objections.

Under his leadership a more critical awareness was brought to the planning and planting of gardens. His own garden at Gravetye Manor demonstrated that plants look best where they grow best and that they should be allowed to develop their natural forms. In North Americawhere for a long time most men were preoccupied with making a world, not a garden, ornamental gardens were slow to take hold.

It lets you choose the area and when you drag a vegetable or herb into the box, it gives you the number you can plant per square foot. Planting instructions for each variety chosen with a link to their vegetable encyclopedia for more in-depth info. You can print and save your design if you sign up as a member. You can also save the URL for future reference. Does not have the ability to place your garden bed into the context of your yard as a whole.

It does not give you a plant list or the number of plants needed in your design. Anyone using square foot gardening techniques will find this very helpful.

It has the most features and allows you to do the widest range of plans. GrowVeg lets you create stunning, full yard, garden plans. It gives you the ability to change into square foot gardening mode for raised beds planning. The planner software shows how much space plants require and how to group them for maximum success, removing the need to look up planting distances and crop families. It also allows you to schedule spring and fall crop rotation.

The program gives you the ability to print out a planting schedule for seed starting, planting out and harvest.

This is based on your specific geographic location. Any gardener looking for an overall enjoyable planner experience. This is plenty of time to create your garden plan and print it. I always learn something new from them. Free minimal cost for upgrades, but not necessary to enjoy the benefits of the program PROS: First, you specify how many adults and children in your family. It lets you drill down and get specific about the plants you want to grow.

When you choose a vegetable and variety, it gives you the number of plants you need to feed your family, plus the amount of growing space that will be required. You have the ability to create a garden with simple raised beds in the dimension of your choosing.

It also told me that my small garden at sq ft was not big enough to grow all the varieties I would need to feed my family. I had to look long and hard for one!

garden design plans free uk dating

The only thing I can come up with is that Smart Gardener does not give you the ability to plan your garden in the whole context of your yard.

No adding decks, pools or porches in the mix. Any gardener that wants a simple, but surprisingly robust, desktop garden planner. Free for mobile or tablet only PROS: The Garden Time Planner lets you create a garden based on your specific location.

Once you add your zip code there is a place to see your current weather conditions and forecast.