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The Narrative Potential of Architecture After-life in the Comics
Since Winsor McCay’s Little Nemo, comic artists have been concerned with depicting architecture. The presence of architecture in comics has been investigated in the ways they represent historical architecture (Thiébaut 1984) and the city (Alberghini 2006; Thévenet and Rambert, 2010). Some authors have dedicated a philological attention to places depicted, from Francois Bourgeon to François Schuiten or Vittorio Giardino; others, like Moebius, have shaped complex futuristic or alien visual imaginaries. In this way, comic artists and cartoonists have accredited themselves as complete artists and have appropriated the narrative methods and painting techniques of major arts. Parallel to this, an interest in the use of comic graphic methods in the development and communication of the architectural project has surfaced (Van Der Hoorn 2012). From Le Corbusier onwards, some architects had adopted the sequential and graphic informality of comics and have oriented it towards narration, through peculiar atmospheres, environmental elements and human figures. This process of “communicating vessels” between comics and architecture has been largely mediated by cinema, whose production of “freely” moving images assembled through the montage technique has demonstrated the potential of the author's architectural imagination – and unbuilt designs, especially– in forging the image of futuristic, alternative, perturbing, often dystopian worlds. The "lost opportunities" cited by Pagano (1941) or of the "interrupted architecture" recovered by Patetta (1969) form a patrimony of visions and social contents. While most of it is destined to remain confined to archives and academies and to generate self-celebratory reflections, a part began to find a "second life" in literature and cinema. At the end of the last century, the vision of the Wrightian interiors of Ennis House in Blade Runner or of Jean Nouvel's unfinished Tour sans fin in Wim Wenders’ Until the End of the World demonstrated the potential of the architect's design imagery in ...
The Narrative Potential of Architecture After-life in the Comics
Since Winsor McCay’s Little Nemo, comic artists have been concerned with depicting architecture. The presence of architecture in comics has been investigated in the ways they represent historical architecture (Thiébaut 1984) and the city (Alberghini 2006; Thévenet and Rambert, 2010). Some authors have dedicated a philological attention to places depicted, from Francois Bourgeon to François Schuiten or Vittorio Giardino; others, like Moebius, have shaped complex futuristic or alien visual imaginaries. In this way, comic artists and cartoonists have accredited themselves as complete artists and have appropriated the narrative methods and painting techniques of major arts. Parallel to this, an interest in the use of comic graphic methods in the development and communication of the architectural project has surfaced (Van Der Hoorn 2012). From Le Corbusier onwards, some architects had adopted the sequential and graphic informality of comics and have oriented it towards narration, through peculiar atmospheres, environmental elements and human figures. This process of “communicating vessels” between comics and architecture has been largely mediated by cinema, whose production of “freely” moving images assembled through the montage technique has demonstrated the potential of the author's architectural imagination – and unbuilt designs, especially– in forging the image of futuristic, alternative, perturbing, often dystopian worlds. The "lost opportunities" cited by Pagano (1941) or of the "interrupted architecture" recovered by Patetta (1969) form a patrimony of visions and social contents. While most of it is destined to remain confined to archives and academies and to generate self-celebratory reflections, a part began to find a "second life" in literature and cinema. At the end of the last century, the vision of the Wrightian interiors of Ennis House in Blade Runner or of Jean Nouvel's unfinished Tour sans fin in Wim Wenders’ Until the End of the World demonstrated the potential of the architect's design imagery in ...
The Narrative Potential of Architecture After-life in the Comics
fabio colonnese (author) / Danilo Di Mascio / Colonnese, Fabio
2021-01-01
Conference paper
Electronic Resource
English
DDC:
720
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