"One of the most challenging steps for the beginning designer is to make the jump from theoretical, or philosophical ideas to specific form or shape. A strong conceptual base is essential whether it is based on the social or cultural content, ecological opportunities, historic precedent, economic constraints or other important indicators. It is the metamorphosis of the abstract ideas into concrete reality which is explored in this paper. As a teacher of the novice designer, the author has found that an initial logical structure to this process helps to build confidence and stimulate further creative thinking. Geometrics and mathematics are explored in a systematic process of overlay and blending with the early loose conceptual organization of space. The highly unified two dimensional forms can be refined through explorations into the third demension. These organizations stem from manipulation of basic shapes such as rectangles, triangles, hexagons and circles manipulated from their pure form or expressed as guide patterns.Nature offers a different kind of inspiration. Imitations and abstractions of nature may be the appropriate form to convey the essential qualities of some design concepts. The inherent line or shape of leaves, ice formations, rivers, rocks, waters edge, etc. undergo a metamorphosis as they are abstracted and then expressed in built materials, such as concrete, brick, plant arrangements, earth forms, pools or fountains. An abundance of loose, random images can be found. Some of the opportunities they reveal for structuring space include the meander, the free eclipse, the loose spiral, the irregular polygon, clustering and fragmentation. These natural indicators and the geometric guide patterns mentioned earlier can on the one hand be used as helpful rules and on the other treated as fallible. Breaking the "rules" is exciting and risky at the same time. A section on anomalous and provocative design discusses the possibilities of acute angle forms, counter forms, deconstruction, eccentric landscapes and urban spaces of distortion and illusion. These ideas will be illustrated by a limited number of slides showing the metamorphoses from natural images to diagrammatic abstractions to built environments. Although the author's emphasis is on smaller landscape spaces (the homescape, the urban plaza, the streetscape, the community park), the techniques and the process of form evolution discussed in the paper may be adapted to other levels of design."