{"id":98692,"date":"2016-05-31T11:30:41","date_gmt":"2016-05-31T15:30:41","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=98692"},"modified":"2016-05-31T11:38:59","modified_gmt":"2016-05-31T15:38:59","slug":"italo-calvino-the-baron-in-the-trees","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2016\/05\/31\/italo-calvino-the-baron-in-the-trees\/","title":{"rendered":"Italo Calvino, The Baron in the Trees<\/i>"},"content":{"rendered":"

Longtime readers of the<\/em>\u00a0Daily will remember\u00a0Matteo Pericoli\u2019s Windows on the World project<\/a>, which featured his pen-and-ink drawings of the views from writers\u2019 windows around the world.\u00a0Matteo is also the founder of the\u00a0Laboratory of Literary Architecture<\/a>,\u00a0an interdisciplinary project that looks at fiction through the lens of architecture<\/a>,\u00a0designing and building stories\u00a0as architectural projects. In this new series, Matteo shares some of his designs and what they reveal about the stories they\u2019re modeled on.<\/em><\/p>\n

\"Calvino_axonometric-view\"<\/a><\/p>\n

\u201cRebellion cannot be measured by yards \u2026 Even when a journey seems no distance at all, it can have no return.\u201d This is Baron Arminio Piovasco di Rond\u00f2\u2019s response to his son Cosimo, the protagonist of Italo Calvino\u2019s novel The Baron in the Trees<\/em>, when, having decided to escape his suffocating family life by climbing a tree near his house, Cosimo declares his intention never to come down again.\u00a0<\/p>\n

The father\u2019s comment holds the key to both the novel and its architecture, i.e., the irreversible and unstoppable need to build a distance\u2014be it physical, like a wall or some other matter separating two spaces (the story\u2019s foundation), or emptiness, an unfillable gap, an interstitial space (the story\u2019s development). Cosimo\u2019s instinctive act of rebellion, neither pondered nor calculated, directly affects the constructed space above. The building\u2019s supporting structure is made of a thick, load-bearing wall, which, as it rises, becomes a void, i.e., a gap separating two identical masses of glass and stone that penetrate each other without ever touching.<\/p>\n

\"Calvino_perspective\"<\/p>\n

While it is the very idea of rebellion to support the story below ground, its development aboveground is too incomprehensibly thin and insignificant to appear as true detachment. In fact, Cosimo never really abandons his family. Yet, as Cosimo\u2019s father tells us, even if it \u201cseems no distance at all,\u201d separation can be irreversible.<\/p>\n

From a bird\u2019s eye view, the building is compact and precise. The gap, so visible from this perspective, is linear along its central portion, whereas at its extremities it appears tentative, uncertain of the direction to take.<\/p>\n

 <\/p>\n

\"Calvino_plan-section\"<\/p>\n

As much as we want to be a part of Cosimo\u2019s adventures, as much as we see and share his reasons and drive and want to be close to him, we cannot. We, too,\u00a0perceive the separation. Perhaps because the narrative voice is that of Cosimo\u2019s brother, Biagio; or maybe because, from the very beginning, we got stuck looking at Cosimo\u2019s \u201cmesh of leaves and twigs of fork and froth\u201d as if it were made of words, \u201cswarming with cancellations, corrections, doodles, blots, and gaps.\u201d<\/p>\n

In collaboration with Giuseppe Franco.<\/em><\/p>\n

\"Calvino_plan\"<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Longtime readers of the\u00a0Daily will remember\u00a0Matteo Pericoli\u2019s Windows on the World project, which featured his pen-and-ink drawings of the views from writers\u2019 windows around the world.\u00a0Matteo is also the founder of the\u00a0Laboratory of Literary Architecture,\u00a0an interdisciplinary project that looks at fiction through the lens of architecture,\u00a0designing and building stories\u00a0as architectural projects. In this new series, […]<\/p>\n","protected":false},"author":272,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[22546],"tags":[21331,14359,22551,12976,8226,8755,15329,22550,452,13392,22552,13134,22549],"class_list":["post-98692","post","type-post","status-publish","format-standard","hentry","category-literary-architecture","tag-blueprints","tag-buildings","tag-cosimo","tag-drawings","tag-family","tag-italo-calvino","tag-laboratory-of-literary-architecture","tag-literary-architecture","tag-matteo-pericoli","tag-rebellion","tag-separation","tag-sketches","tag-the-baron-in-the-trees"],"acf":[],"yoast_head":"\nWhat Does an Italo Calvino Look Like as a Building?<\/title>\n<meta name=\"description\" content=\"Matteo Pericoli\u2019s new Literary Architecture series looks at fiction through the lens of architecture, designing and building stories as architectural 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