O Fortuna for example begins faint, but starts to build a crescendo and with every passing note you know something really dynamic and powerful is coming and your emotions are soaring as you wait for this climax. Good symphony style music works in similar ways. In Dallas who killed JR? In Michael J Strazinski’s sci-fi masterpiece Babylon 5, is Ambassador Kosh a good entity or a bad one, what does he really look like and why is he so cryptic in all his communications? Who are the Shadows and what is their real agenda besides all-out war? In both cases with the book or the series mystery is the key element, the catalyst to the sequential journey in effect. The same compositional skills are present in epic TV series to keep you ‘hooked’. Is Mr Darcy really that bad, or does he have a temperate less arrogant side? You fight to keep reading to finish cleanly at the end of the chapter before giving in to the demand for sleep only to find an intense cliff-hanger, that leaves you gaging to know the outcome. Consequently, you can’t resist turning the page and starting the next paragraph and before you know it you have two pages left until the end of the chapter. Your eyes are closing and you have five lines left until the end of the paragraph and the end of the page, the ideal time to insert the bookmark and call it a day, but something happens in the final lines of the paragraph, and it’s referred to as a ‘hook’. You equate with the emotions of the lead character the rich verbal descriptions of the scene transform to vivid images in your mind. You’re tired after a long day and lying in bed reading a good book. We all are susceptible to these compositional tricks in literature, but may not have consciously analysed how they work. This is the sequence of events that keep the reader turning the pages of the journey. In a book interest is maintained by several compositional skills and tricks: strong characterisation, strong scene descriptions, and most importantly unpredictability with paragraph and chapter ‘hooks’. If the reader is to ever finish reading the book interest must be maintained. but we can compare the creation of a landscape and its sequential journey to some of these signposts with absolute ease….Ī book may run from 60,000 to as much as 455,000 words, as in the epic Lord of the Rings. There are several recognised signposts to writing a book depending on which authority you read. If it is really like the story in a book, we should also be able to learn something about landscape sequential journey from a book, and I am not referring to a landscape design text book! We can look deeper into these parallels to elucidate them, to show how they work, and why it’s so important. Both analogies are referencing the story (re the analogy of a book,) or the symphony (re the analogy in music,) of the human emotional journey through the landscape in time. ![]() The simplistic synopsis above using literature as a metaphor to explain it, does encapsulate sequential landscape journey, and the parallel with musical composition is also equally valid. The principles of art and design are the VOCABULARY of landscape design and the elements of landscape design are the LETTERS. The principles of design composition represent GRAMMAR in the landscape design. The philosophy of landscape design forms the PARAGRAPHS of the composition. The sequential journey is the STORY you wish to tell in the landscape.
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