![]() When Mariana approached me to discuss Eco’s use of space in The Name of the Rose, I realised that she had touched upon the core question of the relationship between space, language and knowledge. ![]() Mariana asked: if layouts have the capacity to express symbolic meanings through the conceptual structure of a display in a real museum, and the organisation of knowledge in a library, can the spatial layout of the fictional library in Eco’s novel point to a relationship between real-life spatial configurations and fiction?įurthermore, what is the spatial narrative of the library? ![]() In their paper ‘The Spatial Construction of Seeing in Castelvecchio’, Gianna Stavroulaki and John Peponis illustrate the interrelationships of the experience lived within space through movement and the symbolic function of the gallery’s display in Carlo Scarpa’s adaptation of the medieval castle to a gallery. For Mariana, the library possesses key spatial organizational and compositional features related to ‘spatial meaning and functions as a complex symbolic form’. If architecture creates stories, can stories create architecture? So the essay of Mariana Garcia Fajardo – a student in my Architectural Phenomena module in the SSAC MSc at the Bartlett School of Architecture, UCL – begins addressing Umberto Eco’s design of the library in his acclaimed novel The Name of the Rose. ![]()
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