DESIGN 
are scattered aimlessly about over the area. There are very few 
agreements and no design. 
In diagram B the trees are all of the same kind and size and are 
arranged in straight rows, which rows are paralle! with the bound- 
aries of the rectangle. If the student will imagine these four rows 
of trees, still kept as rows, but placed at various angles with the 
boundaries, he will see that the difference is very great in favor of 
the arrangement as shown. In other words the design here illus- 
trated has a larger number of geometrical agreements. 
In diagram C an equally definite arrangement has been secured, 
introducing curved lines. This presents a certain amount of variety, 
which is in general agreeable. 
In diagram D a totally different type of design has been adopted, 
and one which is very effective in dealing with certain problems. 
Observation 
It will be noticed that the three designs offered viz. B, C, and 
D, are all formal in character. This must not be understood as an 
argument in favor of formal design. It is altogether possible to 
develop a logical design of informal character, and such design is 
especially important in landscape architecture. At the same time 
informal design is much more difficult than formal design; and 
since the purpose of this present lesson is merely to introduce the 
idea of design as clearly and simply as possible it is best to adhere 
to these simple, formal examples. 
Problem 
The student should plan several other arrangements of trees 
on the same area here shown. 
As a second step in the problem it will be worth while to use 
two kinds of trees one represented by circles and one by triangles. 
In order to visualize the results one may consider the circles to 
represent maples and the triangles to represent spruces. 
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