Natural Pattern Forms A Practical Sourcebook for Landscape Design Richard L. Dube Here for the first time is a practical guide to naturalistic landscape design. With the aid of easy-to-use templates, author Richard L. Dube introduces you to 48 natural pattern forms, and shows you how to apply these natural solutions to everyday outdoor design problems. Imagine drawing from a palette as varied as an arcing river, receding hills--even clouds and frost. This book provides the inspiration you need to break away from staid design solutions and discover design solutions that are creative and natural. All 48 original templates include a sketch, a photo, and a discussion of the structure, aesthetic attributes, and underlying emotional tone of the pattern form. In addition, Mr. Dube shows how each form can be reconfigured to meet the needs of specific spaces. Further, each template is cross-referenced to specific design applications, demonstrating practical ways to incorporate natural pattern forms in real designs. This book is a unique and invaluable visual resource for professionals and a creative guide for students who are learning to see the natural landscape in a new way. In addition to expanding any existing repertoire of design solutions, this important new resource:<br> * Looks at specific design problems.<br> * Offers a range of possible solutions for each problem.<br> * Explains how and where to look for natural patterns.<br> * Presents information in a clear and concise manner.<br> * Provides beautiful visual examples.<br> Author Richard L. Dube is uniquely qualified to create the first practical guide to naturalistic landscape design. A practicing landscape designer for 17 years, Mr. Dube is a professional interpretive naturalist with extensive knowledge of Japanese landscape design and construction. In this book he draws upon his knowledge of the conscious use of natural pattern forms in the world-renowned gardens of Japan.
During the past decade there have been many changes in the perfumery industry which are not so much due to the discovery and application of new raw materials, but rather to the astronomic increase in the cost of labour required to produce them. This is reflected more particularly in the flower industry, where the cost of collecting the blossoms delivered to the factories has gone up year after year, so much so that most flowers with the possible exception of Mimosa, have reached a cost price which has compelled the perfumer to either reduce his purchases of absolutes and concretes, or alternatively to substitute them from a cheaper source, or even to discontinue their use. This development raises an important and almost insoluble problem for the perfumer, who is faced with the necessity of trying to keep unchanged the bouquet of his fragrances, and moreover, to ensure no loss of strength and diffusiveness. Of course, this problem applies more especially to the adjustment of formulae for established perfumes, because in every new creation the present high cost of raw materials receives imperative con- sideration before the formula is approved.
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