the world's most visited architecture website
i

Sign up now and start saving and organizing your favorite architecture projects and photos

Sign up now to save and organize your favorite architecture projects

i

Find the most inspiring products for your projects in our Product Catalog.

Find the most inspiring products in our Product Catalog.

i

Get the ArchDaily Chrome Extension and be inspired with every new tab. Install here »

i

All over the world, architects are finding cool ways to re-use run-down old buildings. Click here to see the best in Refurbishment Architecture.

Want to see the coolest refurbishment projects? Click here.

i

Immerse yourself in inspiring buildings with our selection of 360 videos. Click here.

See our immersive, inspiring 360 videos. Click here.

All
Projects
Products
Events
Competitions
Navigate articles using your keyboard
  1. ArchDaily
  2. News
  3. Italo Calvino's 'Invisible Cities', Illustrated (Again)

Italo Calvino's 'Invisible Cities', Illustrated (Again)

Italo Calvino's 'Invisible Cities', Illustrated (Again)
Italo Calvino's 'Invisible Cities', Illustrated (Again), Zobeida. Image © Karina Puente Frantzen
Zobeida. Image © Karina Puente Frantzen

Lima-based architect Karina Puente has a personal project: to illustrate each and every "invisible" city from Italo Calvino's 1972 novel. Her initial collection, which ArchDaily published in 2016, traced Cities and Memories. This latest series of mixed media collages, drawn mainly using ink on paper, brings together another sequence of imagined places – each referencing a city imagined in the book.

Invisible Cities, which imagines fictional conversations between the (real-life) Venetian explorer Marco Polo and the aged Mongol ruler Kublai Khan, has been instrumental in framing approaches to urban discourse and the form of the city. According to Puente, "each illustration has a conceptual process, some of which take more time than others." Usually "I research, think, and ideate over each city for three weeks before making sketches." The final drawings and cut-outs take around a week to produce.

Zaira. Image © Karina Puente Frantzen Diomira. Image © Karina Puente Frantzen Dorotea. Image © Karina Puente Frantzen Fedora. Image © Karina Puente Frantzen + 16

In an interview with Kindle, Puente has stated how she finds cities "absolutely amazing," and even more so about metropolises and megalopolises. "I am interested in all of them, tiny, huge, historic, creative, problematic or cosmopolitan; every single one has something worth admiring. One of the things that deeply interests me is the powerful exchange of knowledge that happens in cities and the multiple and diverse sociocultural interchange we witness. The more hectic a city is, the more interesting for me. There is something magical about people living close together."

Puente continues: "I could tell you about how I decided to make Anastasia, which is part of the chapter Cities and Desire. Anastasia is a city of deceit. Calvino talks about how you think you are happy living inside her but you really aren’t – about that duality. So, I represented a city on top of another city. The city on top is a happy city, with kites and elevated streets, while down below there is a mining city, with no light and where you have to work all day long and are trapped. In this case, dreams and desires are represented on top and fear is represented underground."

Anastasia. Image © Karina Puente Frantzen
Anastasia. Image © Karina Puente Frantzen

The city appears to you as a whole where no desire is lost and of which you are a part, and since it enjoys everything you do not enjoy, you can do nothing but inhabit this desire and be content. Such is the power, sometimes called malignant, sometimes benign, that Anastasia, the treacherous city, possesses; if for eight hours a day you work as a cutter of agate, onyx, chrysoprase, your labor which gives form to desire takes from desire its form, and you believe you are enjoying Anastasia wholly when you are only its slave.

Despina. Image © Karina Puente Frantzen
Despina. Image © Karina Puente Frantzen
Diomira. Image © Karina Puente Frantzen
Diomira. Image © Karina Puente Frantzen
Dorotea. Image © Karina Puente Frantzen
Dorotea. Image © Karina Puente Frantzen
Eufemia. Image © Karina Puente Frantzen
Eufemia. Image © Karina Puente Frantzen
Fedora. Image © Karina Puente Frantzen
Fedora. Image © Karina Puente Frantzen
Isaura (1). Image © Karina Puente Frantzen
Isaura (1). Image © Karina Puente Frantzen
Isaura (2). Image © Karina Puente Frantzen
Isaura (2). Image © Karina Puente Frantzen
Isidora. Image © Karina Puente Frantzen
Isidora. Image © Karina Puente Frantzen
Maurilia . Image © Karina Puente Frantzen
Maurilia . Image © Karina Puente Frantzen
Tamara. Image © Karina Puente Frantzen
Tamara. Image © Karina Puente Frantzen
Zaira. Image © Karina Puente Frantzen
Zaira. Image © Karina Puente Frantzen
Zirma. Image © Karina Puente Frantzen
Zirma. Image © Karina Puente Frantzen
Zoe. Image © Karina Puente Frantzen
Zoe. Image © Karina Puente Frantzen
Zora. Image © Karina Puente Frantzen
Zora. Image © Karina Puente Frantzen

Italo Calvino's 'Invisible Cities', Illustrated

Cite: AD Editorial Team. "Italo Calvino's 'Invisible Cities', Illustrated (Again)" 16 Feb 2017. ArchDaily. Accessed . <https://www.archdaily.com/805442/italo-calvinos-invisible-cities-illustrated-again/> ISSN 0719-8884
Zobeida. Image © Karina Puente Frantzen

伊塔洛·卡尔维诺《看不见的城市》之插图 (再版)