Methodological Notes on Modelling Reconstructions After Literary Architecture

The manifold relationships between text and image are investigated by analysing attempts at a three-dimensional reconstruction of the Palace of Love and Venus described in Giovan Battista Marino’s Adonis. From text analysis and iconographical precedents to free-hand sketching and three-dimensional modelling, the article describes the progressive translation of some verses of the poem into a consistent system of drawings and models, which, besides revealing some hidden features of text, addresses the implicit limits of the ineffable quality of Marino’s literary space.

LITERARY ARCHITECTURE

Architecture and Literature are the social forms of art peculiar to the mankind. Architecture creates a story with a thread of spaces whereas Literature builds a visual representation of a place with words. They have been practiced together from ancient times in order to leverage the experience of users in their respective fields. The primary purpose of the research is to study the amalgamation of these domains of art in order to enhance the prospects of designing in a better-experienced way. Architects and Writers work on the same base with an alike goal and, Architectural concepts could be kindled and inspired by anything in the world henceforth, it could be stimulated by novels and narrations of literature. Thus, the result and conclusion would be exploring an exercise and posing an example of the novel The Fountainhead by Ayn Rand, manifested by the literature review and case studies, henceforth triggering the thoughts of future evolution and enhancement of practice on the topic

Two modes of a literary architecture: Bernard Tschumi and Nigel Coates

Tschumi’s experimental use of the literary text as part of design briefs for students at the Architectural Association in the late 1970s formed the basis for a preoccupation with what he termed the disjunction between space and the events that happen within it. For Coates, the literary briefs triggered a fixation with what was happening in space – but instead of focusing on its conceptual interaction with events, he moved towards the dramatisation of architecture. Grounded in the architects' shared teaching at the AA, the article discusses the early briefs and projects that shaped the directions they would each take.