Since he lirs t appeared in the world 01 eomie books as a partner to Claude Rénard2 in 1980, Fran,o is Sehuiten has beco me a fu ndamenta l aulhor lo exp lain Ihe evolution 01 European eomics throug h the last Quarter 01the 20lh Ce ntury. Along his career, Sehuiten and his works have revealed an extraord inary example 01both Iheorelieal and fo rmal eoherenee in Ihe crealion 01a Iragmentary world where his diflerent in terests and obsessions - il the te rm obsessive can be anyhow appl led to Sehuiten's Germanic rigor- erystallize in arehiteetural shape. Arehiteeture and engineering , Iheir logies, and their representabon have been the vehie le lo r Sehuile n to reshape this multiplieily 01 interests into imaginary seenarios where an eXQu isite heterogeneily coexists with the unbearable eoherenee 01 the surrea l.

Olten re laled lo Yana Friedman's (un)leasible arehiteetural ulopias, with the pub lieation 01 7I7e Tower in 1987, Sehuiten will ca ll allention towards the dep ieti on 01 an in ne r world thal wi ll reeall E.C. Escher's visual deeepllOns, bul, aboye all, Ihe erealions 01 anolher masler 01 specu lative arehitecture : Giambattista Piranes;, Sehu iten brings baek a refleetion on the eoneept 01 helerolopia, !hat Miehel Foueaull had eoined310 depiellhe limes 01 simullaneity and has been re eurrently used lo reler lo the Italian master. Like ~ranesi, Sehuilen will beeome , Ihrough his partnerships with Claude Rénard , Benoit Peeters and his brother Lu e, a master 01 arehileetural prospeetive Ihal will attain laseinalion Ihrough eomplexily and will re ereate in his work Kanlian sub li mily Ihrough a surrealislie plaus ibilily, Buill in Ihe style 01 an Inner vedula , In La Tour (The Tower) Francois Schuilen and 11. SeHing up Ihe conlen (1): Archlteelure, Comics and Classicism Benoíl Peelers olfer us a new read lng 01G iambattisla Piranes i's work, Ihrough a The sea rch lor Aulhenlicily rendilion 01 Ihe spaces he crealed lor Ihe "Carceri d'invenzione " (1745 - 1760) Ihal progressive ly reveals as a eonlem porary Irealise on Ihe work 01 Ihe Venelian Wilh Ihe crealion 01Prince Valianl by Harold Fosler in 1937, Com ics, Archileclu re architecl 01 amazlng lucl dity' and Hislory would inslilulionalize a re lalionship Ihal would lasl unlit loday, lO However, il Pa lladio depi cled Ihe age 01 Ihe Golhs as a dark era Ihal had Ihrown over Ihe legacy 01 Anliquily nolhing bul sadness and ignorance, 11 loday we experience 1. 11, la Tou r: Piranesi by Schuilen nostalgia 01Ihe Middle Age simi lar lo Ihal 01 Ancienl Rome Ihal Ihe arlisls 01 Ihe Renaissance lell. Thus , lo lind any lrace 01 classicism, classic or classica l C'esl un abandon, une pourrilure des lieux qui consliluenl pour moi un reel architeclures in comics, we ollen have 10 go back lo Ihe depiclion 01 Ihe cilies 01 Ihe plaisir graphique(.. .). Ancienl World. IIlhe Middle Age is generally depicled in comics Ihrough recrealions F ra fl ~ o l 5 SctlUllen on Giamooltista Pirao!!si5 01 ils urban environmenls , Ihe polis 01 Ihe Classic Greece will usually be lranslaled inlo com ics by adding colonnades and lronlispieces lo generic cubic volumes ,11 In Ihis sludy, we wi ll describe and ana lyze, Ihrough Sch uilen's work, some 01 Ihe Irying lo conveya convenlional plausibil ity Ihal relers lo Ihe irnagery Ihal cinema has characlerislics 01 Piranesian space , a menlal - and, aboye all , graphie - conslrucl inslalled in our coll eclive subeonscious, In Ihis sense , Ihe image 01a nliquity Ihal Ihal has laseinaled hislorians, pa inlers,6wr ilers and archilecls along Hislory, and comics recreale is nol very dilferenl !rom Ihal which Ihe maslers 01 Rena issance and Ihal loday relains ils validity, being il poss ible lo lrack ils presence in Ihe images Baroque had : a succession 01 lemples and monumenlal groups Ihal, in Iheir while 75 Ihal Ihe arch ileclural neo -avanl-garde olters lo us .1 limelessness and serene grand iosity recreale an idealized era 01 wisdom and virlue very dislanl lrorn ilS polychrome and quolidian real ity. 76 Along Ihe lexl, we will idenlily Ihe lealures 01 Piranesi's piclures Ihal can be lound in .-¡" '. Ihe Belgian artist's work , nol only Ihose concerning Ihe very archileclural synlax, bul The wide knowledge we have 01 Classic Rome , and Ihe amounl 01 bu ildings Ihal " ' ~ " al so Ihose ones Ihal Ihe Iradiliona l hisloriography (Wiffkower, RObinson, Tálun) has have made Iheir way lowards our lime allow Ihe conslruclion 01 replicas 01 Ihe urban riL.t!i " . emphas ized , As relaled lo Ihe lirsl po inl, we will analyze Ihe concepl 01 vedula in landscapes and landmarks in varying degrees 01 accuracy, Thus , Ihe "aging" 01 11 Piranesi , and Ihe mechanisms 01 lormal and stylislic ¡uxtaposilion, superimpos ilion nowadays ' Rome provided by Hal Fosler (nolice Ihe anachronically wide avenues and hierarchy (Parere su '11 archilellura) , which can be seen in a new lighl Ihrough in Prince Valiant) can be conlraposed lo Ihe prec ise archaeo log ical reeonslruclion Ihe inlerprelalion 01 Schuilen 's Germanic mind, Among Ihe second group , we will ollered by Ihe long sagas crealed by Jacques Marlin (Alix, (948) , Xavier Snoeck locus on recurring lealu res Ihal appear bolh in Piranes i's and Schu ilen's work, and Sirius (Les TImour, 1953) or René Gosc inny and Alberl Uderzo/ René Gosci nny such as Ihe dramatic use ollighling and perspective (la scena per l'angol08) - and (Aslerix, 1959) , However aceura le in Ihe render ing 01 Ihe spec ilic build ings , a Ihe geomelric conslruclion 01 impossible views- Ihe role 01 Ihe labyrinlh and Ihe cerlain "flaltening 01 Hislory" can be lound even in Ihe mosl respecttul examples, slaircase (especia lly Ihe he li coid sla irs) , Ihe use 01 sca le, Ihe presence 01 machines and il in PrinceVa li ant's ear ly Middle Age we cou ld easily lind Roman leg ionnaires or Ihe role 01 human ligure in Ihe represen lalion 01spaee ,9 and Vikings coexisl wilh Islamie cilies (long belore Mahoma was born ), Al ix or Aslerix afien Iravello a liclicious Julius Caesar's Rome where Ihe Coliseurn already Th e sludy 01 Ihe binomial Schuilen/Piranesi wi ll he lp us define coneepls as Ihal exisls, Ihe Forum has reached a mueh grealer level 01 deve lopmenl Ihan il should 01 S/yIiSlic Hypertrophy, Ihal revea ls lundamenla l in Ihe Belgian anist's work have by Ihal lime, and marble is eXlensively used in bui ldings and monumenls (we bul Ihal can also be outl ined in Ihe exeessive - yel ecleelie - mannerism 01 Ihe seem lo be in Hadrian's Rome inslead) . Anyway, Ihose and also Ihe rare depicl ion Venelian archi lec!. Drawings have always been Ihe arehileels ' med ium lor lormal 01 olher elassic archileclures (su eh as Ihe Byzanline and Baroque calhedrals we experirnenlalion , lar speeulalion beyond reali ly. In eom ies ' worlds, Ihis exploration lind in Winsor McCay's liUle Nemo in Slumberland) have all a purely background sleps up lo a lurlher slage . The ereation 01 drawn (and narraled) universes atlows ro le (even Ihough Ihey afien represenl a source 01 knowledge comparable lo Ihal us lo experimenl Ihe elteels 01 archileclure in society in an innocuous way and 01 Violl el-Ie-Duc 's hisloires I3 ), being Ihe archileclural researeh consigned lo Ihe al Ihe lowesl eos!. Through his work in "The Obscure Cilies", Fran,ois Sehuilen prospeelive - ma inly ecleelic- worlds crealed by Moebius, Dtomo, Meziéres, Enki proposes , along wilh Benoil Peelers , a revision and inlerweave 01I he hisloric sty les Bila !. Juan Giménez or Fernando Rubio arnong many olhers, 11 is in Ihis conlexl Ihal Ihal surpasses Ihe cynieal and inlelleclualized Poslmodern attempls, lo dive inlo Ihe work 01 Fran,ois Schuiten in La Tour acquires ils re levance, bringing unexpecled the inherent eharaeterislics 01 Ihose styles, and their ab ili ty lo evolve and dialog cohe renee lo Ihe Iragmentary work 01 Giamballista Piranesi white exploring!he in archi tecture, much in Ihe same way as Piranesi did wilh elassicallanguage, evolutive eapacity 01classie allanguage, perve rting his Albertian -and Pallad ian- heritage .

Wi th this work, Ihal is lramed in a more ample investigalion aboul Ihe represenlalion 111. Selling up Ihe conlen (11 ): Fra neo is Sc huilen, The Alelier ollhe and recreation 01 architeeture and Ihe city in Ihe comics lield , we aim at exploring Urbalecl 14 the ability 01 Ihis medium lo develop Ihe pararneters previously sel by an author, Inhabiting the Utopía Giambattisla Piranesi , whose work Is revived lor a generat ion 01architects educaled in Ihe visua l culture 01 mass modla Being the son and bro th er 01 architects,15 Fran,ois Schuiten showed, lrom hls very lirst works (Aux médianes de Cymbiola, 7980) an experimental vocation Ihal had less lo do wilh Ihe narralive aspecls 01 com ics Ihan wilh Ihe possibilities 01 Ihe rnedla to creale coherent realities lrom lra gmentary elemenls . His inclination towards drawing and graphi e represenlalion would ioin Ih is inleresl lo give bir!h lo a bOdy Je me mélie beaueoup de ('imagina/ion soil-disan/ pureo (...) Pour eréer un 01 work where areh ileelure and inlraslruelure would ga in a deeisive signilieanee , univers lan/as/ique, fai besoin d'a voir une loule d'élémen/s de rélérenee, ce surpassing !he role 01 Ihe eharaelers or even Ihe slory whieh is lold. In all cases, laisanl je m'i nslmis, je eon/inue á apprendre .22 Ihe slories would be developed parlnering olher aulho rs, sueh as Cla ude Rénard, ··F SCf'1uiten . in Ihe Mulalions series, his brolher Lue '6 in Les rerres Creuses, or Benoil Peelers in rhe Obseure Cities, his mosl exlensive and (in)eoherenl work, and Ihe one Ihal would eslablish his repulalion as one 01 Ihe mosl revered modern ieons 01 eomies' Being laseinaled by Ihe eeleelie aeslhelies 01 Ihe tum ol/he cen/ury, 13 Sehu ilen "inlelleelualily" ." builds arehiteelurallandseapes where Ihe German Jugendslyl is mixed wilh Ihe posl-neoelassie ecleelieism, and Ihe lirsl iron arehileelures or Ihe ltalian Fulurism combine wilh !he maeh inery and meehanieal deviees "a la Veme"24 lo ereale a 111.1 The Obscure Cilies reality 01 amazing eonlinuity. A reali ty, however, prov ided wilh an exaelness , a eol d precrsion Ihallcansmil an eerie leeling 01unreality . In spile 01 Ihe ir exquisile It would be sinee his assoe ia lion wilh Benoit Peeters '8 Ihal Sehuilen's work would perteeli on - or maybe beeause 01 il -, Ihe Obscure Cilies have an aura 01 arlilieia li ly. evolve Irom Ihe erealion 01enlire worlds 01 surrealislie - yel precise - Iogie onlo 01be ing only a Ihealer sel. an elaborale Pallad ian oplieal illusion .25 Ihe exploralion 01e ilies and urban planning as Ihe ealalysl 01I his erealive logie. The obieel 01Ihe sludV did nol real lVehange, bul Ihe seope 01 Ihe experimenl was In La rour , Sehuilen digs inlo Ihe eonslruelion olla cité inlerieur (Ihe inner eity), somehow amplilied, as Ihe effeels 01Ih is artificial world on Ihe ehara elers were aeluallya eomplele "inner eounlry" (a eity 01eil ies, or a world-eity and a eity-world, 17 studied more in deplh. Foeusing on a eity eaeh lime, Sehu ilen and Peelers slarled aeeording lo Frank Thibault26) Ihal aims al giving eoherence lo Piranesi's ee leelie lo ereale a nel 01 grow in g eomp lexity. visions, Ihrough Ihe depielion 01a Tower 01 Babel laken lrom Brueghel 's dreams. In Ihe reereal ion 01 Ihis inlerior lands eape, Sehu ilen will evoke Ihe spaee 01P iranesi 's In " rhe Obseure Cities" (Ihe lille somehow res ound ing wilh eehoes ollla lo Prisons wilh oul direellv rendering Ihem. Paradox ieallv enough , Sehu ilen bri ngs Calvin o's /nvisible Cities), bolh aulhors leave beh ind Ihe lanlaslie universes Iha l homolopie Ih oughl17 in lo Piranesi 's he/er%pie prisons, building a eom plex seenery Sehui len had previously explored wilh his brolher Lue '9 in "rhe Hollow Grounds" lo wilh a Ihoughff ul seleel ion 01 a lew Pi ranesian lools. dig inlo a world Ihal is nol lota lly delaehed lrom ours, bul. on Ihe eonlrary, mirrors il, developing a so rl 01 parallel reality buíll oul 01b ils and pieees 01ou rs.1O Images , In La Tour, Sehuilen makes apaper and ink-made Piranesi, who borrows lar plaees and people Iro m our real ily wou ld inlerweave and develop , up lo hypertrophy Ihe oeeas ion Ihe physiea l lealures 01 Orso n Well es's John Fa lslaff,28 lace his (in an exereise 01Banhesian inlerlexluality) , lo give birlh lo Ihal "kaleidoseopie, own invenlion. Like in OeQuinev's and Co leridge's leverish dream ,19 here he he/erogeneous bu/ eoheren/" /o/um we reler lo. Beeause Sehuilen and Peelers 's is senleneed lo lravel Ihrough Ihe bowe ls 01 an inlinile prison Ihal melIS his eilies are, aboye all, eoheren\. experimen ls wilh elassie lo rms in lo a uni que arehi leelurallandseape.

Appa rently. IV, La Tour or Ihe Inner Cily The Prisons and The Tower 01 Babel. 111.11 Aboul Slyl e. Creation, plausibilily and unrea lily, In 1987, Sehu ilen and Peelers published L'arehivis/e , a revised eompilalion 01 greal part 01 Ihe lormer's graphie oeuvre , where bo lh aulhors made an eflorl lo inleg rale The Obseure Cities represenl a sludy made on Ihe basis 01 sueeessive approaehes il wilh in Ihe diseu rsi ve logie Ihal had been outl ined in Les mura llles de Samaris , lo an imaginary world wh ieh is (re)erealed in eaeh new inlerven lion .21T his world (1983) , and developed in La lievre d'Urbieande (1985), lraming diflerenl malerials will end up absorbing Sehuilen's ample range 01grap hi e obsess ions, reeveling 01very diverse inspiralions and sourees inlo Ihe universe 01 .The Obseure Cilies30 •. old images and assoeialing Ihem IVilh new eoneepls Ihal add lurlher eomplexilv lo Among Ihe speelaeular ehai n 01 images Ihe album ollers , we lind a wide variety whal had alreadv been lold. This proeess beeomes highlV laeililaled by Ihe nalure 01 01a rehileelural lanlasies . However, Ihe aulhors dee ided lo end Ihe album wilh an Sehui len's graphie erealures . Being main lv inleresled in Ihe oplimislie meehanieism unusua l porlra i\. Be low il. we can rea d: .. Giovanni Baftisla and his Iriends". A lew 01Ihe lale XIXlh Cenlury, Sehu ilen shapes his imag inary arehi leelures in an eeleelie monlhs laler, Caslerman Ed ileur surprised ils readers wilh a new album 01Ihe saga style where neo elass ie ri go r eoexisls wilh Arl Nouveau, Ihe lulurislie avanl-garde or Wilh "La To ur' (1987),31 Ih e Freneh-B elg ian duel wo uld delaeh Irom Ihe lempora l even - as we will see- wilh Piranesian baroque. eon1in uity 01 Ihei r preeeding works , and Sehuilen IVould seftle his debl wilh a eerta in Venelian masler, Vue erealor 01" obseure ei/ies ."32 Wilh Ihe publi ealion 01 "Les Murailles de Samaris" (Toumai : Cas/erman, 1983), Ihe eombined work 01S ehuilen - Peelers turned nol onlV inlo an exploralion 01 urbanism , bul also a sophislicaled relleelion on style and ils eapaeity lo generale IV.I From Ihe Vedule lo le Careeri d'invenzione , eoherenl worlds in an aulonomous way, somehow leading lo an exlreme Ihe eonlroversy on Ihe aulonomy 01a rehi leelure Ihal delined Ihe arehileelural debale in La rour lells Ihe slory 01 Giovanni Baftisla, a masler ma inla iner in eharge 01Ih e eare Ihe sixlies and sevenlies. and repair 01 a seelion 01 an immeas ura ble eonslruelion he relers 10 as "Ihe Tower" , and Ihe lolal exlension 01 wh ieh non e - nol even Ihe omn iseienl reader- knows33 Along Ihe more Ihan 120 pages Ihal the al bum eomprises, we will aeeompa ny Giovanni in his Iravel Ihrough Ihe inlerior 01 Ihe Tower, as mule wilnesses 01 a ollers a reinlerpretalion ol le Careen d'invenzione. Th is homage seems somehow parade 01 delirious arehileelurallandseapes bui ll upon an eeleelie elassieisl inevilable, aUend ing lo Sehuilen's own slralegy 01 stylislie eomb inalion and language where differenl Palladian shapes superimpose one lime and anolher in spalial superim posilion . In Le Careeri, more Ihan in Prima Parte di Arehileffura e perleel artieulalion . Buil l in Ihe style 01 an inner "Veduta ", Ihe Tower shows Ihe Prospelliva (1743) , Delia Magni~eenla ed Archileffura de Romani (1761) , or Parere abil ity lo lind an order in helerogeneity. su'!l Arehilelura, Piranesi creales inner worlds where dillerenl planes aeeumulale one behi nd Ihe olher. Wherever we direel our glanee, il digs inlo a sueeession 01 difiereni stages Ihal endow Ihe draw ing wilh an exaggeraled sense 01 deplh, Le vedule di Schuitea. Ecleclicism aud hyperlrophy aehieved Ihrough Ihe use 01a earelul and dramatie (indeed Ihealrieal) lighling. In lael, Ihe drawing style wi ll be one 01 Ihe mosl erueial laelors in Ihe immediale AII Ihrough Sehuilen's work, two eoneepls appear as a basis lor Ihe design work. assoeialion wilh Le Careeri Ihal La Tour produces in Ihe viewer. On Ihe one hand , Ihe "slruelured eeleelieism", on Ihe olher, Ihal 01 "styl islie hyperlrophy". In his designs lor eilies su eh as Samaris or Urbicande, Samarobriva or Brüssel, Ihe Belg ian Arlisl makes his way lo "bring order in helerolopia" Ihrough IV,II. Are hiteeture and rep resentation . a Ihoughltul superimposilion 01elemenls on a syslem ehosen a priori. However, DI drawiags aud eagraviags. in Sehuilen's "obseure world" we also lind ei lies where Ihe hislorie slyles have evolved lo Ihe limil. up lo Ihe poinl when Ihe whole soeiety is eohesive wilh Ihal Teehnieally, Piranesi is aSlonishing aM iaimi/ab/e: a nervous and precise style. ha/ehing, a gray /hal looks like pOlished melal makes /he middle Iones ollhe 79 minor pieees glow: a gloomy, ehiaroseurisl impe/us, Iha/ crea/es a drama/ie In Xhys/os (Las Murail/es de Samaris, 1983), an Arl Nouveau sophisliealion con/rasl among Ihe b/aek surlaces. 37 80 permeales all aspeels 01 dai ly lile: nol only Ihe buildings, bul al so Ihe veh ieles , Ihe mach ines, or even people's elolhing seem lo be designed by a lree-ol-all From his arehileelural inherilanee, Sehuilen had aequ ired a heroie allilude lowards eonslrainls Vielor Horta. The same runs lo r Blossleldlstad (Iormerly Brentano) , drawing.36Subsequenily , his imaginary un iverses will always be , aboye alt , whieh is built in a 1I0rid"vegela/islie" Jugends/iil Ihal seems lo come lrom an delighltully bu ill. In his renderings we can elearly idenlily every elemenl -be il arehileelural dream on Karl Blossleldt's pholographs .J4 slruelural or ornamental- 01 Ihe buildings, bul also every detail 01 Ihe maeh inery 01Ihe vehieles or 01 Ihe eharaelers ' elolhes.39 In Ihe Irave l lrom Ihe lale sevenlies The eoneepls 01 eeleelieism , style and hypertrophy were nol al ien lo Giamballisla lo Ihe middle eighlies, Sehuilen's drawing evolved Irom Ihe elegan l bul stilt Piranesi . As a Venetian, Piranesi was lamiliarised wilh Ihe vedu/ista genre Ihal, eonvenlional Belgian "e/ear /ine " style he used in his lirsl works lo a sophisliealed having been eoneeived in Ihe XVllh eenlury by Anlonio Oosio and Vieenzo Seamozi, eelebration 01 Ihe engraving wh ieh he used wilh a menla li ty Ihal was more would be eodilied in Ihe XVlllh and XVll llh een luries by Heintz and Van WiUel, and , "englneerislie" Ihal pure ly arlisl ie'OBy means 01 a earelul eonlrol 01 Ihe tine, aboye all. Lu ea Carlevaris, Cana lello, Panini, and Ihat would lalely lead lo Ihe birth Sehuilen gels lo render inlrieale urban la ndscapes Ihal lell us 01Ihe lasei nalion ol lhe "Caprieeio" . by a lulure eity dreaml in Ihe beginnings 01 Ihe 20lh eenlury'llt wilt be du e lo Ihe re eurri ng use 01 a rneehanie, rigorous line Ihal Sehuilen will be able lo eonler Neverlhe less, allhough Piranesi's work is elearly "vedutlstieo", his invenled homogeneity to (Ihe represenlalion 01) sueh a mulliplieity 01 differenl objeels, ages , areh ileelurallandseapes would go mueh lurther Ihan Panini's addilive styles and influenees whieh lrame Ihe sloryl ine. The kind 01 engraving we lind here oreheslralions. Bolh in Ihe Prisons, bul also in his vedute 01 Rome and speeially is, Ihen, a eold, geomelriealty deseriplive nineleenlh -ee nlury engravi ng Ihal masks in his del irious Opere Varie , and Ihe plales Ihal aeeompanied his Parere Ihe differenees, giving lo Ihe whole Ihe exael, aeademie appearanee we lind in sull'arehi/ellura (1765), or his Prospellive, 35 Piranesi would make a syslemalie use Viollel - Le - Oue's drawin gs. 01 Ihe two proeedures oullined belore. Piranesi's work wou ld re ly on an aeeurale areheo logieal sludy 01I he ruins 01 anliquity, bul wilh a very eeleelie tasle 01 Aneien l In the Tower, however, Sehuiten's drawing aequires a greater dens ity, and even World . 11 in his early Prisons Piranesi soughl lor Ihe desired elle el 01 eomplexity though Ihe meehanieism is slill there , we see a bigger work on textures Ihal seems in Ihe ehaolie superimpos ition 01 wa lkways, bridges, arehes , aerial slruelures and lo seek lor a eertain sease 01 weighl. Piranesi's drawings are always eharged wilh a stairs. his laler work would show a sim ilar superimposilion in Ihe very eoneeplion materiali ty ga ined through layers ol lrenelie , nervous halehing tha t ereates shadow 01 style. In Ihe Anlichiles , or Ihe Parere , - and , obviously, in Ihe Oiversi Maniere along wi lh texture . Sehuiten's eold rendering eannol aehieve Ihis sueeess through d'adornare i eammini - we see Roman Ruins mix wilh Elrusean reerealions and spontaneity, so he re li es on a proeess 01 seu/pling the shadow . Th rough a carelul imaginalive Egyptian inlluenees. Those styles would be put together till Ihey melt planilicalion 01 li ghling and progressive blaekening 01 the page with superimposi ng into eaeh other, ereating a new hybrid Ihal would laler develop up lo hyperlrophy, eross-hatehing traces. Schui ten seeks to gain the /eaebrism we lind in The Prisons . in a eonlusing balance 01 ehaos and eoherenee Ihal would aUrael Ihe eonlinuous However, the Prisons he renders are not Ihe playful, researching plales 01 the despise 01I he erities .36 young Piranesi, but the dark, gloomy spaces 01 the man in his lorties'2 Lighl, and , espeeially, snadow, are the main bu ilding malerials in Ihe Prisons 01 imaginalion, Sellin g as ide Ihe similarilies in ils slralegy lo handle class icism and providing and Schuiten looks lor the resemblance in the atmosphere, even more Ihan in the an evolulion lor il, The Tower leads us to Pi ranesi by relerring literally both to eonstituent elemenls 01 the spaee. In the lirsl ehapter. Giovann i gets as leep near him (in Ihe character 01 Giovanni BaUisla) and lo his work: Irom Ihe eover, where the exlerior wall 01t he Tower. In Ihe mo rn ing, when he is awaken by Ihe sunlighl, he we can see a rendilion 01 The Mole 01 Hadriaa, lo Ihe images wilh which eaeh cannol avoid exclaiming: " There is loo muen lignl ouf nere. This is aol heallhy". Here ehapter is presented , bul espee iall y in Ihe very design 01the space itself, which again, Sehuiten seems lo disti ll and codily Piranesi's too ls. developing a method to 10 reereale his presenee wllhoul d,reetly eopyi ng his draw ings43 or Ihe lan shaped slruelures 01 his reeonslruelion 0111 Campo Marzio ,46 bu l above all, reminds ollhe pai nli ng lile Great Tower 01 Babel (1563),47 by Pieler Brueghel, a lopie Ihal will aeeompany Sehuilen along his eareer4B Th is exlenl will be eonli rmed IV,III Building up Ihe Prlsons, Order in helerolopic space when, in his slay in Ihe eily 01E/ías Aureotus Palingenius , in one 01 Ihe upper levels , The elements al Piranesi's Carceri he is shown a depielion 01 Ihe inlended appearanee 01 La Tour , a eanvas Ihal will re eall immedialely Ihal 01I he Flemish arehilee!. From Ihe eity 01 Elias, loealed in As resull, in La Tour, Sehu ilen seeks lo evoke Ihe eomplexity and oppressive Ihe perimeler ollhe Tower, Ihe radial slruelure ollhis can be elearly seen. Also, Ihe almosphere 01 The Prisons withoul direelly rendering Ihem. To do so, he lakes some laeade ollow arehes il shows re lales lo Ihal 01Brueghel's olher atlempl, lile Small 01 Ihe typ ieal lealures Piranesi uses lo ereale his helerolopie spaee and plaees Ihem Construction ofthe Tower 01 Babel (1563) . The labyrinlh space oflhe Prisons , an onlo a grid Ihal allows him lo eon lrollhe spalial eonslruelion. TIIe main elemenl witl inlinile sueeession 01 gloomy hyposlyl e rooms has a lurlher mean ing now, as be Ihe areh -mostly Ihe round areh -, omnipresenl in all Ihe plales 01le Careeri, Ihal Ihe inner slruelure lor a eolossa l lower. The inner eislern spaee, like Ihe morloeks' will supporl an ever-darkened ee iting, or will lorm buil di ngs Ihal will allernale wilh world in Melropolis , is jusi a basemenl on whi eh lo build Ih e exterior slrala 01 Ihe bridging or hanging lIal palhways. hyperbo li e Renaissanee 01 Ihe E/oi.49

The areh had been exlensively used by Piranesi Ihroughoul his career, due lo ils Wilh his eonslruelion 01 the Tower 01 Babel, Sehuilen seems lo be Irying lo bring properli es lo render eomplex and myslerious spaees, casi mulliple shadows and a eenlre lo Ihe Prisons 01 Piranesi, an aulhor whose engrav ings, as Taluri slales , mask, by hiding Ihe junelures, Ihe ineohrerenees 01 Ihe perspeelive eonslruelion. "present us not merely a set designe"s whim, but rather a systemalie eritieism 01 the 81 The arehes 01 Ihe Prisons, disposed in perpendicu lar planes, offer mulliple "opaque eoneept 01 'eenter "SO Signifieantly enough, when Giambaltisla rea ehes Ihal eenler, Iones" where lo elu de Ihe resolulion 01 Ihe joinls and ereale new evenls, being Ihere is nolhing inside il. II is a vo id. In eonlrasl with Ihe eomplexily ollhe Prison's 82 Iheir re lative dimensions and corresponden ces olten dillieult lo elueidale . The Piranesian spaee , Ihe eenler is a no-place. areh offered Piranesi dramalie and operative eonditions Ihal a eolumn-and-linlel syslem eould nOI, and also an indisputable Romanesque 44 nalure Ihal made il Ihe lavourite 1001 lo ereale Ihe da rk, heavy and ehaolie Careeri. To buitd Ihe inlerior From La Tour lo /he Grand Tour spaee 01 La Tour, Sehuiten uses a eombination 01 arehes made either 01 slone, brieks, or dilleren l types 01 opus mixtum, Ihal, due lo Ihe exlremely high pi ltar/areh Alter learning Ihe Irue nalure 01 The Tower, Giovanni will decide lo lrave l Ihrough il proporlion wou ld olten evoeale Ihe inlerseetion 01 two syslems 01paralle l aqueduels in arder lo reaeh Ihe lop. The slory will lum, allhis poi ni, an inilialion journey Ihal perpendicular lo eaeh olher (in pages 4 and 5 01I he Firsl Chapler Giovanni etimbs will offer a Iravel Ihrough Pi ranesi 's vedute . 11 in Ihe inner spaees we somelimes lo a slruelure Iha llooks li ke a spalial evo lulion 01 Ihe Braneh 01 Ihe Aequa Claud ia eneounlered visions Ihal seem lo have been laken lrom Ihe Prospettiva della piscina 01 1775).11 nol lor Ihe proporlions, Ih is space wou ld perteel ly resemb le an ane ienl delle medesime conserve (Anliehilá d'Albano e di Caslel Gandollo, 1764) , or Ihe eislern. In lael, in page 2 we lind an almosl direel Iranslation 01 Ihe pil lars 01 Pars Residua porticuum, et eoncamerationum .. . (11 Campo Marzio delt 'Antica Roma , Piranesi's rendering 01 The Cislem al Caslel Gandollo (1764). 1762) , in Ihe upper levels ollhe lower we will lind ruins eovered with vegelalion Ihal will remind 01 Ihose drawn by Piranes i 01 Ihe eallls 01 Caracalla, or Ihe Constantinian Bya progressive sealing and superimposilion 01 Ihose elemenls, linking Ihem wilh Basiliea , bul al so Ih e giganlie dorie eolumns 01 the porch 01 the Pantheon, walls arehery bridges and loolbridges, Sehuiten reereales a lake heterotopy Ihal, Ih rou gh carved wilh apses li ke in his designs lor Irlumpha l arehes or a depielion ollhe a wise use 01 detail, lexlure and shading, aehieves a "generie" evoealion ollhe ruinous slairs 01 Ihe Cis/ern at Albano (1764). II is in Ihis parl where Sehuilen 13 Prisons (see pages 4, 5, and 6 in eomparison wilh plales X and XI) Ihal eorresponds makes Ihe use ollhe Piranesian pastiche mosl eviden!. In his artiele "Kinemasliche mueh belter lo an earlier loray in Ihe Prisons lopie by Piranesi: Careere Oscura... Kerker.. ." ,51 Alexander Kupler idenlilies one lrame as an inlerprelalion 01P iranesi's ("Oark Prison ... ", Prima Parle di Arehitelture e Prospeltive , 1743) . However, even "Gruppo di Scale ... "52 However, Ihe pane l is a dire el superimposilion 01 two when Ihe elemenls are nol Ihe same neilher in shape nor in Iheir lunetion, Ihe engravings: "Galleria grande di statue" (Prima pa rle di Arehilettura e Prospetliva) images Sehuiten ereales Slill rem ind us 01 Ihose 01 Le Careeri (see Ihe erossroad in and one 01Ihe molils 01 "Monumento anlico e due vasi" (Vas i, Candelabri, Cippi 1, page 3 and Ihe circu lar slruelu re in page B as eompared lo Ihe lamous Plale 111 01 1778) . Ihe prisons) . The lower is really a megaslruelu re, a buill landseape in whieh 10 place Ihose dillerenl visio ns. Nea¡ Ihe end 01 Ihe album , we eneoun ler his rendilion 01 an emply Pieler Brueghel and Ihe Tower 01 Babel Camera sepo/crale, (Camera sepo/crale inventata e disegnata conlorme al cos/ume, e al/'antica magniPcenza deg/'imperatori Romani) , one 01Piranesi 's lirsl elehings Bul, in his lrave l lowards Ihe exlerior border 01 Ihe conslruelion , Giovanni will reveal Ihal was lirslly published in Prima Parte diArchitet/ura e Prospettiva (1743). a look us Ihe Irue nature 01 Ihis carceristic Tower. If in Ihe eover we had been shown Ihe baek lo a model Ihal, along with Carcere Oscura ties in Ih e basis 01 Sehuiten's exlerior wall 01 Ihe lower as a massive slone eurta in supporled by Ih ick bultresses elaboration 01 Pira nesia n spaee .53 (Iaken lrom Piranesi's "Spaccato degli Speroni, i quali servono de contraforti al gran Fondamento del Mausoleo d'Ello Adriano", in Le Antichi/á Romane IV, 1784), as we gel elose r lo il, we dlscover an underlying slruelure 01 pi llars and lIying bultresses. The Tower is really a Circular slruelure 01cone enlrie and rad ial galleries Ihal re ealls Piranesi's obsesslon wllh Ihe eomplexity 01 Roman Cireuses he so olten depieled,45 14 01 slaircases, ladders 8nd scales Imaginalion) . In lhe perspeelive eonSVuelion 01 lhe Prisons, Piranesi uses Bibiena's scena per i/ angolo melhod, whieh he had probably come in eonlael wilh lhrough The slairs will be , howevcr, lhe one clemenl 01 lhe Prisons lhal will nol make ils lhe Valeriani or lueehi lamilies 01s lage-designers. The su perposilion 01 several way lo Ihe Tower . In Ihe Careeri, loolbridges, hangi ng wooden sta irs and ladders perspeelive axes leads lo an arlilieial expansion 01 spaee lhal overwhelms lhe have an equal role ollinking lhe slone giganlie inner slruelure, signi lying, more speelalor. The Prisons in lroduce lhe speetalor inlo lhem by recrealing lhe real lhan lhe mullipl ie ily 01super imposed levels, lhe deli berale ehaolie nalure 01 Ih is experienee 01pereepli on. Like a eubisl painling, lhe inner spaee reaels lo lhe superim posi lion. Thus , Ihe ample, slony slaireases 01Ih e lower level sellle Ihe viewer, oflering an ever-ehanging poinl 01 view (and vantage poinl). The inlerior heaviness 01I he Iloor plane, whilsl sullering lrom a prog ressive demalerializalion landscape 01l he prisons is made 01 evenls , 01 individua l parls (and glanees) lhal in Iheir wa y lo lhe unreaehable eeiling. The verlieal ily 01 Ihe spaee is underlined, are oreheslraled in a whole, bul do nol surrender lo ils supremaey, and movemenl in arder lo magnily Ihe seale 01 Ihe prison and ils oppressive ehara eler, Iheir is imp lieil in lhis slruggle between individualily and unily. As Andreas Huyssen puls inhab itanls being lranslormed inlo virl ual dwart s. The lower, however, is eoneeived il. "Piranesi relused lo represenl homogeneous enlighlened space in which above as an inlini le, da r!< void lhal is lu lfilled wilh a spalial gri d 01elassie allanguage. In a and below, inside and oulside could be clearly dislinguished. (...) While massive sense, Sehuilen makes re al Alberlo Cuomo's inlerprelalion . More lhan a Labyri nlh, and slalic in Iheir encasings, !he prisons do suggesl molion and Iransilion, a back The To wer is lhe homag e lo Newlo n's "absolule spaee" - emply, inli nile, where and lorlh, up and down Ihal dislurbs and unmoors Ihe gale ollhe speclalo, " Bul, bodies gravilale- lhal Cuomo sees in Le Careeri. 54 unlike lhe eubism , Piranesi does nol make an argumenl on diseonlinuily. Moreover, he creales impossible conlinuilies lhal. as in Escher, produce a bloodeurdl ing In lael. lhe spalial eoneeplion 01l he Tower is nol very difiere ni 01 lhal 01 ils effect57: "(.. .) Vlya VogI-G6kni/ has shown how Ihree dimensional spaces evolve inlo 83 predeeessor: La Fiévre d'Urbieande , whieh exp lains lhe differenee in lhe melhods 01 Mo-dimensional planes, how deplh dimensions are being pulled apart and breadth bolh arlisls: Piranesi proeeeds mainly lhrough aggrega lion, ehoosing a po inl 01view dimensions ar being shrunk." 58 In SChuilen , however, lhere is no seareh ol lhe 84 and selling a slruelure , lhen add ing elemenls in lhe blank zanes between elemenls. geomelrical paradox, lhe evenlualisl disjunclion or lhe scenographic exaggeration . Sehuilen, on lhe eonlrary, relies on an underlying slruelure lhal is progressively On lhe eonlrary, Sehuite n comes lo eomplele Ihe eirele, making, in lhe Tower, Ihe eompleled (or lhal grows, evo lves) . The spaee where Giovanni lives is, lhen, malhemalieal rendering 01 Piranes i's idea liled spaee . By doing so, Sehuiten ereales inlini le in all direelions, and we , lhe observers , are lrapped in lhe middle 01 il. This a vedula 01 Ihe vedula. eireumslanee is elearly lransmilled by lhe spalial, elassieal grid, and lhe presenee 01l he sla irs is no more needed. (.. .) in Ihe Carceri, Ihe eonslrilion comes nol Irom Ihe absenee 01 spaee, bul Irom an opening loward Ihe infinile. The Prisons are lhough l lo be seen lrom an only poi nl 01 view. They exisl lo be Mantredo Taluri. eon lemp lale d lrom lhe angle, Irom Ihe Iloor. 11is in lhis selling lhallhey aequire lheir lull mean ing. TIIe Tower, on lhe eonlrary, is a spaee lhal inviles Ihe viewer lo Bullhere is an obsess ion wilh lhe rendering 01lhe inlin ile (a "succession and move lreely. In La Tour , Sehuilen liberales lhe spaee 01 lhe Prisons , all owing us lo unilormity 01 Ihe parls as inslrumenls capable 01 conslrueling Ihe artificial inlinile"·, move lreely Ihrough ils inlerior, and oflers us a unique opporlunily lo beeome virtua l aecording lo Taluri) lhal we also lind in E.C. Eseher and in Sehuilen, a ruplure wilh • voyeurs 01 Piranesi's spaee, and gale downwards, inlo lhe eomp lexily 01 lhe spaees Euc lydean geomelry lhal muiliplies lhe dimensions in a pieee 01paper ; a lolding 15 below uso and unlolding 01 spaee inlo ilsell wilhoul eoilapsing, like lhe nel lhal eoexisls in lhe same spaee as Urbicande.

IV.IV Piranesi, Eseher and lhe depielion 01 impossible, Aboul perspeclive and vision IV,V Of men and machines, The human figure and Ihe inventions in 5chuilen and Piranesi Piranesi clearly shows Ihal Euclydean geomelry does nol represenl lar him Ihe only archileclural solution. TIIe artisl's definilive break wilh Ihe laws 01 cenlral La Tour semble done élre un espaee ludique, ou plulÓI un espace narratil el perspeclive is here evidenl. Piranesi nol only shills Ihe vanlage poinl ollhe expérimenlal dans lequel les deux auleurs exploilenl les possibiiilés du média, painling, bul even adopls several vanlage poinls, Ihus lilerally causing Ihe jouenl sur les différenls sens de eoncepls lels que eelui de « Cilé obseure-, de Euclydean spaee lo eollapse. labyrinlhe ou de lableau, manipulenl les images. 59 Ulya vogl-Goknil.55

11is nol possible lo unders ta nd Pi ra nesi's work wilhoullocaling him inlo lhe Piranesi and 5chuilen, Ihe dramalisl and Ihe slorylelfer currenls 01Ih oughllhal we re devel opi ng along lhe XVll llh Cenlu ry. A new, subjeclive, empiricisl glance lowards lhe world was coming inlo eonlliel with lhe Bolh in Piranesi and in Sehuilen, Ihe human ligure is designed as lhe neeessary "objeelive knowledge" and lhe idealism lhal came Irom lhe Renaissanee heri tag e. eounlerparllor lhe worlds lhey have crealed . In Piranesi, lhe erilies have always Wilh lhe publi ealion 01" The Pleasures ol lmaginalion" (1712), a new door wo ul d poinled oul his lendeney lo represenl a degraded humanily. The human being is open lar perspeclivlsm and a malnly visual und erslanding 01 experi enee and carlooniled and drawn in ils darker, mare exlreme eondilion . In his elehings , lhe pleasure . The big and Ihe unapproaehab le would ga in a pro gressive relevanee Italian arlisl depieled eri ppl es and hunehbaeks, mem bers ollhe lowly Ihal rn lhe lhal would culminale In Kan!'s re invenl ion 01l he sublimeS6 11 is nol surprising Careeri beeome lorlure d prisoners, like punished Roman slaves.60 The Prisons hav8 lhat alllhose conceplS can bo lound In Piranesi's Careeri (Iileraily lhe Prisons 01 been aeknowledged as a ' prigion e pittoresea " (Paolo Conless i). Hyllon Thomas cla imed that. instead 01" dead nalures," Piranesi etched "dead archileclures ."61 As Taluri notes, Piranesi's threa tenlng use 01 machínes might be a criti cal - yet However, the Prisons are aJive . Nolwithstanding their nature 01 pertectly sludied unconscious- reaction against • Ihe almosphere ollhe machine culture ollhe compositions, the prlsons are inhabitable spaces that attract the viewer towards eighteenlh cenlury (.. .) wilh ilS antinaluralism and ils skeplicism. that mixes with them. Moreover, the Prisons are always crowded with people . like a painting by E.C. his longing lar Roman Juslice (hence the depic tion 01 torture in Plate 11) . However, Escher or a cross sec tion by Norman Foster. However, their role is diflerent lrom he al so exp lains the presence 01 human ligures " more lo accemuale Ihe lunclioning th ose. The numero us people that appear in them have an indicalive role : in the lirst ollhe machines Ihan lo communicale Ihe experience ollormenr. • Schuiten case, they help locate the lIoor plane so that the abnormality 01 the space is most shares with Piranesi a distrust 01ma chi nes (" Somelimes, we even discovered evident and uncomlortable; in the second they also underline the lo cation 01 ma in odd machrlles Ihe use 01 which I could nol figure oul .), as seen in Samaris spaces , and give scale. Even though those lunctions exist in Piranesi 's Carceri as in (nevertheless, it is not the machine, not even the strange lorces hidden under a Dark any architectural representation, the human ligure has also a role 01 "quotidianil ing" Cily,M but the very city, that traps its visitors) , and a lasc ination lar the mechanical. space, 01 making them exist in aplane 01 reafity. Peop le in the Carceri authenticale lar that machinery that sti ll spoke of craftmanship, 01 Swiss rigor, and that imbues the drawn space as real, phys ical spaces, attracting the viewer into them. Giovann i with a Renaissance, optimistic vie w a la Leonardo .

Le Cítate de !'invenlione (De Obscurae Civitatis): atmosphere, stage and V. Piranesi and 8chuiten: the future through the past. reality Perspective, prospective and the question on autonomy (as a conclusion)

l know nolhing which is sublime which is nol connecled lo Ihe sense 01 power; Je me mélie beaucoup de !'imaginalion soil-disanl pureo( .. .) Pour créer un 85 Ihis branch proceeds nalurally... Irom lerror, Ihe common origin 01 all Ihal is univers lanlaslique, (ai besoin d'avoir une loule d'élémenls de reférence, ce sublime. laisanl je m'inslruis, je continue ;i apprendre. ··Edmund aurk ~62 F r;¡n~[}is Scnui ten65

I witl not tire you by lelting you once again 01 the wonder I letl in observing Schuiten's Tower -as olten happens with his cities- is empty. Even when there are the Roman buildings up clase, 01 the absolule per/eclion 01 Iheir archileclonic some pea pie to be lound in them, they seemaliento their surroundings, as il they parts, Ihe rarily and Ihe immeasurable quanlily ollhe marble lO be lound on did not belong to that place , to the same plane 01 reality. The Obscure Cities re-read atl sides, or Ihal vasl space, once occupied by Ihe Circuses, Ihe Forums and the "man in fron t of nature" romanlic tapie . In Giovanni's contemp lation of the built Ihe Imperial Palaces: I witl lell you only thal Ihose living, speaking ruins filled horizon 01 the endless tower, we lind Caspar David Fried richs 's Wanderer Above my spirit with images such as even Ihe masterlutly wrought drawings ollhe Ihe Sea 01 Fog (1B 1 7) ,but now translormed into "the man in front 01 architecture" , immortal Palladío, which I kepl belore me al atl limes, could nol arouse in or, better, "man vs. the urban". The characters in Schuite n's worlds are also siaves . me. Il is Ihus Ihal Ihe idea has come lo me lo letl Ihe world 01 some ollhese When reading Aux médianes de Cymbiola, les muraitles de Samaris, la liéVle buildings. d'Urbicande, [archivisle or l a lour, one cannot avoid a certain sense 01 inevilabilily. GlamooUisla Piranesl66 In the world 01th e Obscure Cities it is architecture that rules, the main charac ter, being human beings mere puppets, whose desti ny is controll ed by the cities they Throughout his lile, Giambattista Piranes i dug around Rome to lind traces 01 the inhabil. past he wanted to build. In Roman antiqu ity he looked lar the liveliness, grand iosity and ¡ay 01a mythical E/ruria th at would give him the leg itima cy lo overcome the In Piranesi 's Carceri, man and arehi teeture belong to the same reali ty. They reinloree constra ints 01Winke lmann's encodi ng 01 classicism. eaeh other, in terweave, do ing a collective architectural pertormanee . Again, Piranesi's drawings are made 01 events. Thei r drama draws the viewer's empathy. Piranesi was much aware of th e pedagogic role 01 his vedute , but not only as In Schuiten's cities , however, we experienee a eurious variation 01 the Slereoseopic aceurate repli cas 01 an anti quity Irom wh ich to learn. Piranes i's legacy is that Principie 01 Campbetl as delined by Thierry Smolderen.63 In Ihe Obscure Cilies of invention, 67 not only 01a new style or a formal proeedure, but also 01a new we look at Ihe world both Irom our position as omnise ient reader but also from conception 01spaee and individuality. Piranes i, as Pieasso , displayed a new glance. the main charaeter's eyes . However, no empathy comes lrom th is perception . The They owned an eye that scrutiniled the real ity with a new kaleidoseopic approaeh gloomy, oppressive world 01te Carceri, reveals viseerally eloser to us than the not that surpassed the issues 01 style or zeílgeisl. If we can tra ek the traces 01Piranesian so dark, but Obscure Cities . and their ereepy, cartoonish inhab itants look more rea l. Carceri in Eisenman's inner spaces. and Koolhaas's pertormative arehitecture Orawn in a precise , cOld , naturalistic style, Sehuiten's eharaeters tend to look like equally seeks to introduce events, regardless 01programmatic realms, Schu iten's automatons, artificial beings that wander through an inhumane urban environmenl. Urbieande materializes that Barthes ian/Derridean intertextuality that Ts ehumi However dramatie they are, the drama the Prisons transmit is one that we fee l metaphorieally looked lar in La Vi llette . Like Eisenman or Rossi , Piranesi looked lar lamiliar. On the eontrary, there is something inhuman, even melaphysical in the an authentieity that is only possible in imagination or in the draw ing . As And reas Obseure World that reveals allen to US o Even though the Prisons can be regarded as Huyssen notes, "(.. .)the Carceri present, as il were, pure archileclural spaces lar theater stages lar their eharaeters to play, it is in Urbicande, Xhystos, Samaris or lrom all nalure, complex inlerior halls Ihal seem lo be part/y ruins, partly unlinished Brussel where we lind an unbearable artificiality that eonlers them that sense 01 « buifdings ." 68 Irolen reality« that can only come Irom a theatrical sel.

20 When Milena and Giovan nl escape !rom Ihe Tower , soon il collapses, ceases lo exi! Endnoles The black and wh ile unlverse 01I he archilectural dream gives way lo the colourlu!. allhough mundane, reallty, The Tower exisls in a rea lity where the coherence 01 a 1 Of course, we are using Brush i's word s in a different - let us say ampler- conle,! megalomaniac made up world is sustain ed by human will. Accord ing lo Kupler, the With these words, he was relerring to Bramante 's claim lar the use 01 perspective: Tower posits an argume nt aboul the lim its 01arehiteclure and human inte ll ec!69In "(.. .) Perspeclive is slil/ uselul lo Ihe arehilecl because wilh il he can imagine Ihe Ihe Tower, Schuiten strugg les to bring coherence to the whole Piranesian legacy, whole building." In the context 01 f1ranesi's - and Fran,ois Schuiten 's- work, these making up a build ing/city -/world to the Iragmentary oeuvre 01 the Venetian words acquire a new dimension , architec!. 2 Fran,o is Schuiten mel Claude Renard in the ale tí er Bande Dess inée (Com ic book workshop) 01 the Sint-Lukas Institute (/nslilul Sain/-tue) in Brussels, creatíng with Like Piranes;, Schuilen recovers along his works Ihe heritage 01 tra dition to reinvent him his li rsl two albums, 'Aux Médianes de Cymbiola (1980)' , and 'Le Rail (1982)' , il, bringing the historie styles inlo dialogue , mi,ing and develop ing them to the ir published by Humanoídes Associés, They also did the arl direetion and costume lurlher completion , up to hypertrophy. After him, Fran,ois Schuiten translorms us design lar the movie 'Gwendoline ' by director Just Jaeckin in 19B4 . in voyeurs 01 a monsler world brought about by the dream 01 s/yle , a dream tha t Claude Renard (Belg ium , 1946) had also altended the Institut Saint-Lue , where he comics can evoke betler than bu ilt arehitecture, or even cinema, Schu ilen takes studied painting , He took a lew courses in comics art under Eddy Paape, prior to Piranesi 's narrative ai m to the lo llowing slage, without loosing their essence. becoming his ass istant until1976. For eight years, he ran the lamousAlelier R He recreates the experience 01 superimposition , collage, helerotopia , lar a (I'ale tí er de bande dess inée" le ge réve "), where he educaled a greal number 01 spectator Ihat laces arehitecture comp letely alone, as a passenger in the bodies olher lamous Be lgian comic artists such as Swolls, SOkal, Berthel, Gollin, Cossu or 01 the desperately lonely characters 01 his books . With his anachronistic, sk illlul Andréas Martens, Th ree 01 the collective pub tícations edited by this workshop wou ld 88 87 craftsmansh ip, Schu iten invents a new Grand To ur through Ih e imaginary lar a leature Schuiten 's work. Alter working with Fran cois Schuiten he crealed his own generation 01 areh ilects broughl up in the era 01 Ihe digita l media, comi c series, 'Les Avenlures d'lvan Casablanca ', and then turned inlo ill ustration , being also the author 01 several illustralion books like Galil ée, jou rnal d'un hérétiq ue and Maroc : Lelires aMatisse sous le prolecloral, with Yves Vasseux (édi tions Pyram ides, 200t). Recently he publis hed 'Un goüt de biscuit au gingembre ', in collaboratlon with the writer )(avier Hanotte (Eslua ire , co ll ection Carnels Litteraires, Septembe r, 2006) He also collaborated ma ki ng costume des igns lar Fra nco Dragone in his show 'Le Réve', AII those des igns haye been collecled in Ihe boa k 'Le Tail/eurdu réve' (Les Impressions Nouvelles, October 2006). 3 In The Order 01 Things: An AIchaeology 01 Ihe Human Sciences (1970), See also "01 Olher Spaees " (1967) , 4 Du e to th e scenograph ic nature 01 the works 01 Piranesi, it is not surprising thal the most inleresti ng researehes - Irom an arehiteclural viewpoinl- on hi s work have been done in the realms 01 both com ics and cinema, II Ihe ill ustrations 01E .C, Escher re li ed in no small part in Piranesi' s compositions (and perspectival incoherences) , Ihe mosl compelling three dimensional rendering (save la r Eisenman's House VI) 01 a Piranes ian space are still Ihe ones created by Jim Henson in 'Labyrinlh' (1986) or Jean-Jacques Annaud in Der Name der Rose (19B6) . 51n Ihe calalog 01 the exhibilion "Réves de pierres." He al so adds: "Je lrouve en effel Irés aga,anl de dessiner des choses partailes: ce qui fail au conlraire la beaulé elle plaisir du dessinateu, ce sonl les craquelures dans les murs, les pierres qui se délon/, loules ehoses que Piranése parvien/ asublim er " 6 Among the renditio ns 01 Piranes i' s Careeri, let us menlion the impressive work 01 th e Bra,il ian artist Vik Mun i" that adds a new layer 01 complexity to th e Ita lian's oeuvre. 7 Although it surpasses Ihe scope 01th is study, so me connections between the deconslructivist space 01 Eisenman's or the pertormative areh iteeture 01 Rem Koolhaas and Piranesi 's Careeri cou ld be easily made. S Piranes i was mainly inlluenced by Giusepe Galli Bibiena (son 01Fe rnan dino, author 01 Arehiteffura Civile , 1711) author 01 Areh itetlura e prospetive (Hamburg, 1740). On the inlluenee 01 theatrica l sce nography in Piranesi see Wit1kower, R,: Art and Arehiteelure in I/aly, 1600-1750 , 9 AII 01 them diseussed in Willkower, Rudo l!. "Piranesi as an arehitect" in Studies in Ihe Italian Baroque , London, 1975, 247 -58 , 10 In lhis sense , the Freneh magazine Vécu is one 01 the landmarks 01t hls marríage between History and Comíes . Fo llowíng Ihe molla "thisloire c'esl aussí I'aventurc", Vec u (édilions Glénal) has ollered a se leclion ollhe mosl signilicalive aulhors vindicalion, (Bourgeon, Ju illard , Hermann, COlhias, Ana Miralles, Adamov) and works on Ihe 1B Fran,o is Schuilen and Benoíl Peelers firsl mel al/he age 01 12 in Ihe Sainle lield . In Ihe magazine, dlrecled by Ihe prolilic -and encycloped ic- Henri Fili ppini Barbe School al Brussels, where Ihey col/aboraled in Ihe sehaol joumal aiready we can read "De 1250 avanl nOlre ere el jusqu 'aux annees 1940, de I'Egyple wilh Iheir eurrenllabour divission, being Fren¡ois Sehuilen Ihe designer and BenoH aneienne ala Seeonde Guerre Mondiale, plus de cinquanle séries vous en/rainenl Peelers Ihe seriplwril" Alter Ihal, Schuilen would slay lo allend Ihe Inslilul Sainl-Lue aux eonfins du monde el vous invilen/ a revisiler en bande dessinée les origines de in Brussels while Peelers moved baek lo Paris lo sludy and work under Ihe direelion nos civilisations. " 01 Roland Bar/hes, developing an analysis 01 Hergé 's work, Alter Ihal, Peeters would 11 Paraphrasing Ihe words 01 Jacques Gubler (Hislory 01 Areh ileclure prolessor in move lowards Ihe « Nouveau Roman -, Peelers and Schuilen mel again in Ihe lale Lausanne and Geneve) in his article iPor fin I/egó Viol/el-/e-Due l (Allas t. Viollet-Ie sevenlies, again in Brussels, deeiding lo do a new work logelher: Les Murailles de Ouel) in WAA Cairo (especial arquileelura). Norma Ediloria !. Barc elona, 1985 Samaris, Happy wilh Ihe resul/, bul leeling Ihal il did nol eover Ihe whole idea Ihey 12 See Vich, Sergi. la hisloria en los eómies . Glénal. Barcelona. 199/ wanled lo explain, Ihey deeided lo lur/her develop il in a lIew album ol lhe same 13 We should menlion here Michel Thiébaut: "la Bande Dessinée laeilile la leelure /ype. While diseussing il wilh Ihe publisher. /he laller suggesled 10 galher Iheir du monumenl: la composilíon des planches oiJ se seeeéden/les images dessinées erealions under a generie tille, and so, TIIe Dbseure Cilíes were bom, Tllrough Ihe se/on un eerlain angle, dans un plan spéeilique, permel de deeouvrir simul/anemenl lime, Schuilen and Peelers also deeided lo blur Ihe border belween reali/y and les mul/iples aspeels de /'édiliee . De /'al/emanee plan d'ensemble / plan repproehé, lielion, whieh gave bir/h, as well as lo Ihe eomie books, lo books, joumals and plongée / eonlre plongee, ehamp / eonlre-champ, nai! une meil/eure eomprehénsion exhibilions on Ihe same lopie, presenling Ihem as ehronieles 01 a real world, (From de I'arehi/eelure, renloree par I'ulílísalion de eadres appropries achaque vignel/e " Ihe chronicle 01 the " Relrospeetive 5chuilen / Peelers au Forum des Images,) (THIÉBAUT, M. (IV-V-1984) : "Approehe du monumenl dans la Bande Dessinee 19 Lue Schuilen remains such an ico noelastic ligure in Ihe lield 01 archileclure as 90 89 d'expression Iran¡aise ," in Monumen/s Hisloriques , 132 . C.N.M.H.S. Paris, pp. his brolher Fran,o is does in Ihe comics world, Sharing bolh his brolher's graphie 18- 27) slyle and his incl inalion lowards speeulative archileclure and urban ism, Lu c (and the 14 The word "urbatec!" (urbatecle in the origina l) was coined lor the album La Alelíer Sehuilen) has specialised in deve loping the coneepl 01 arehiboreseenee, that liévre d'Urbieande (Caslerman , Touma i, 1985) . Th is lerm , applied to Eugene re!ers lo Ihe arehilecture thal uses as ilS ma in elemenls 01 conslruelion all kind 01 Robick (Urbicande's most prominenl urbalecl), is used to reler to the .. integ ral live orga nisms (espec ially vegeta bies). This concept has been lurlher explained in shaper 01 cities ". Both an arch itecl and an urban planner, an urbatect is litera lly an the book 01 the same lille, co-aulho re d by Luc Sehuiten and Pierre Loze (Mardaga , .. Archilecl 01 Cilies *. Oelober 2006), Accord ing lo Ihe principies 01 arehiborescence, Lue Schui len has 15 Fran,ois Sehuiten (Brussels , Belgium in 1956) is Ihe son 01 Roberl Schuilen developed a subslantial amount 01 proieels, such as those ollhe " Arborescenl (see Robert Schuiten; Architecte et Peinlre by Maurice Culol and Oom inique Lamy, Cities * , th e" verlical gardens " and Ihe "maisons bioso laires ". Archives d'Archileclure Moderne (AAM) , 2000) and Marie -Mad eleine De Maeyer, In the Revue d'arehileelure Neul (Seplember, 1995). Marie-Claire Regniers says: bolh arch ilecls. Among his live brolhers and sislers, bolh Luc and one 01 his sislers .. Dans le paysage de /'arehileelure beige conlemporaine, Lue Sehuilen esl une are architecls as we ll, being Luc co-aulhor (as a writer) ollhe series Les Terres figure a par/oS'affranehissant des lignes rigides ou Iradilionnelles de la eonslruelion, Creuses. Among olher works concem ing arch ileclure, Schui len logelher with illente de gerer differemmenl les maleriaux elles leehniques, axe sa reeherehe Benoil Peelers also helped lo save and reslore , along wilh archilecl Franci s MelZger sur des maisons bioelimaliques, reve d'habilarbres,ees logemenls organiques en Ihe Maison Autrique (see bibli ography) , Ihe lirsl house designed by Arl Nouveau osmose avee le végélal.El lace aux aires abandonnées, nées de diseonlinuiles archilecl Viclor Horla. urbaines, eonslruil des jardins ver/ieaux issus du meme imaginaire poélique, Au lil Fran,o is Schui len has also collaboraled in Ihe graphic developmenl 01 two lilms: des annees, lue Schuilen dessine sans jamais se lasser une mul/ilude de projels the lo re menlioned "Gwendol ine" (Just Jaeckin , 1983) and "Taxa ndria" (Raoul animes par le souei d'aulres choix de vie. Une maniére de penser qui a donne lorme Serva is,1994) . He is al so co-aulhor ollhe 3D animation series "Les Quarxs" á une nouvelle arehileelure basée sur une vision poelique oiJ /'invention ella relalion (Maurice Benayoun, 1991), and has developed several scenographies such as "la avee la nalure oeeupenl une place preponderanle,,, ville imagi naire " (Cilés Ciné-Monlréal), "cevas ion" (Grenoble, Festival du Polar) or 20 The Obscu re Cities are placed in an undelined age in a world that looks li ke a .. "Le Musée des Ombres" (presenled in Angouléme , Sierre , Bruxelles el Pa ris) , He refleetion . 01 ours . In lact, like a series 01 refleclions 01d iflerenl ages 01 ours thal also inlervened in Ihe inlerior design ollhe Luxembourg Pavillion in Ihe Un iversal resemble and dislorl il allhe same lime, Among Ihe resemblances, we can lind Ihe Exhibilion al Seville and designed a temporary decoration lor Ihe subway slation correspondenees between cilies (Bruxell es and Brúsel, Paris and Pahry) or people "Porle de Hal " in Bruxe lles and Ih e stalion "ArIs el métiers" in Paris. In 2000, he (Jules Veme, Nadar -Gaspard -Félix Tournachon -, Viclor Horta .. ,l. Among Ihe designed the scenography lor A planel 01 visions, one 01t he main pavi lions ollhe dislorlions, Ihe lacl Ihallhere are no cou nlries in Ihis" retleclive world", being Ihe Hannover World's Fair, He also created Ihe interior ollhe Belgian pavi lli on allhe geopo litic syslem comparable lo that olllaly in the Fifteenth Century, where each Expo 2005 in Aichi, Japan along wilh painler Alexandre Obolensky, In 2004 -2005 cily was an independent stale wilh an area 01 infl uence, Each city has also been he designed a large exposilion, The Gates 01 Ulopia, showing dillerenl aspecls 01 deve loped in a mixlu re 01 styles Ihal range Irom neoclassicism lo art nouveau , and his work, Ihal was held in Leuven, Si nce 1991 , Fran,o is Schuilen has also designed Ihis aesthelics also affecllheir technologic devices, thal come Irom an optimislic 15 Belgian stamps, XIXth Cenlury lantasy. The world and slories 01 " TIIe Obseure Cilíes " are a mulli 16 Along wilh his brolher Luc, Fran,ois Schuilen has done Ihree albums, grouped relerenlial (and mu lli-Iayered) work Ihal has bee n subieet lo different prospecllons under Ihe tille « Les Terres Creuses " (The Hollow Grounds) : Cara paces (1981). and interpretalions, and Ihat confinues lo develop in several direefions, Incl ud lng Zara(1 985) and Nogegon (1990) all published by Les Humanordes Associés. lileralure, Iheatrical perto rmances and operas , exh ibitio ns, conlerence-liclions 17 On ly eclipsed , prob bly, by anolher Belgian, Jean Giraud (Moébius) , and liclion docume ntaries (Le Dossier B and t:Affaire Desombres) manlainlng a represen ting Ihe European avanl-garde Ihal was bred in Ihe May 68 contra-cultural conlinuous interaclive re lation with Ihe readers. 21 Furthermore , 5chUlten and Peeters have sometimes reworked their previous still underdeveloped universe 01 the Obscure Cities. Alter some discussions with the creations in order to aCh leve , il not a greater cOherence, a deeper inlertextuality. edilor, they managed to have the origi nal layou t modilied to inelude text and images This is especially evidenl in the new end ing they developed lor Les Murailles de on the back 01 the prints, turn ing the who le porHol io inlo a cohesivo story. Samaris or the changes in fenlanl penehée. The series 01 « The Obseure Cilies • comprises , up to the present date, Ihe 22 In W.AA 5chu iten & Peelers , Auteu r des Cités Obscures, Mosquilo, 1994. Pp. lollowing albums : Les murailles de Samaris, (1983), La liévre d'Urbicande (1985). 82 L'archivisle (1987). La lour (1987) , La roule d~rmilia , (1988) , 8rüsel (1992) fenlanl 23 A lascinalion thal has his American rellection in Chris Ware 's obsession lor penehee (1995). fombre d'un homme (1999). La Fronliére invisible, tome 1 ( Ihe Chicago 5chool, being both 5chuilen and Ware inlluenced by the archileclura l 2002) and La Fronliére invisible, lome 2 (2004). The series has been completed ec le cticism we lind in the graphic de lights 01 one 01 Ihe lathers 01Ame rican wilh the publication, by the same aUlhors, 01I he lo llowing re lated books, with a comics, Winsor McCay. mixture 01 texts and illustra tions: Le myslére d'Urbieande, par Régis de 8rok (1985), 24 5chuiten's lascination lor Verne's work has, in lact, transcended the world 01 Eneyclopédie des lransports présenls el á venir par Axel Wappendorl (1988) , Le comics. In the early ninelies, 5chu ilen was involved in Ihe publ ishing 01 Jules musée A. Desombres : eala/ogue raisonné des oeuvres el des biens ayanl appartenu a Auguslin Desombres (1990) , técho des eilés (1993) , Le guide des Ciles obseures Verne 's lost book « Paris in Ihe 20lh Cenlury ", a twent ieth cenlury dystop ia (set in Augusl, 1960) lor which he made the cover and inner illustralions. Written in 1863 (1996) , Mary la peneMe (2002) and The Book 01 Sehuilen (2004). and rediscovered in 1989, il was lirsl published in 1994 (Random House published 31 The lirst editions 01 La Tour in the different languages were: La tour (Caslerman , an Engl ish translation in 1997). 1987) ; De loren , (Casterman,198 7) ; La lour (Casterman . 1988); La lorre (Madrid: 25 This makes ilsell most evident in the lirst album ollhe series, Les Murailtes de Eurocomic, 1988) Der Turm : die wahrhaltige Geschichle des Mannes, der ihn bereisle (Reiner-Feest-Verlag , 1988); A Torre (Lisboa : Edi,oes 70, 1989); 1I1e lower , 91 Samaris, wich remains their most chill ing lable on the unreality 01 urban landscape. 92 26 In "Obscurae Civitates et Phantastique Imag ines: Visite égarée de "La Tour" (New York , Dark Horse, 19--). de 5chuiten & Peeters ": "De plus, alors que la Tour lail un espaee labyrinlhique, 32 In 1999, more than 10 years alter the publicatio n 01The Tower, and thanks to le puils se caraclerisé par sa simplieilé. Le chemin y esl en effel unique. C'esl Ihe offer by Richard Dagorne, atlaché a la conservalion at th e Musée de Gaiac 01 eetle simplieite que t'on relrouve eneore dans le cadre, le décor: la Tour esl á la Vi ll eneuve -sur-Lot. Fran,ois 5chuiten and 8enoit Peeters wou ld complete the ir lo/s ville-monde el monde-ville. Á I,overse, le puils esl vide. De plus, sa slruelure private homage to the un iverse 01 Giambattisla Piranesi. In an exhibition held eireulaire, ainsi que t'obseurilé qui y régne, renloreen! eneore son unilormilé, son between Apri ll °and september 30, Piranesi 's engravings and the original pages dépouillemenl. " 01La Tour - thirty 01eaeh - were showed together, with a Xlllth - eentury mi li as 27 On the concepls 01 heterotop ia and homotopia, see also "The ordering background. The exhibition, that was designed , as usual. in collaboration with Sleu sensibility 01 Heterolopia", in Porphyrios , Demetri. Sourees 01 modern ecleelieism: Méthyléne, 81eu Lumiére , was divided into live spaees lhat resembled different Sludies on Alvar Aallo. London: Academy Edi tions; New York, N.Y. : 51. Martin's ehaplers 01the album. A eommented proiection 01 the drawings 01Píranesi (most 01 Press , c1982. them Irom the 1836 Firmin Didot Edition 01 his engravings, property 01the Museum) 28 Chimes al Midn ighl. (Campanadas a medianoche) . Internacional Films Española and those 01 the Tower explained the eommon leatures an specilieities 01 both . In and Alpine Produetions. 5pain, 1966. 2000, the exhibition wou ld travel to Ihe Musée de Feseh in Aiace io. 29 "(.. .) when I was looking over Piranesi's, Anliquilies 01 Rome, Mr. Coleridge, 33 This is no exeeplion in the series. The expectation 01 a linal so lution 01 the who was standing by, deseribed 10 me a sel 01 plates by that artist, eal/ed his enigmas 01 the plol at the end 01 the story never comes, in the case 01 The Obscure DREAMS, and whieh record Ihe scenery 01 his own visions during Ihe delirium 01 a Cities , Ihal always ela im lor a lurther reading, being this part 01 their unquestionable lever. (. ..)Creeping along Ihe sides ollhe walls you perceived a slaircase; and upon magnetismo it, groping his way upwards, was Piranesi himsel/: lollow Ihe slairs a finle lurther and 34 1n Ihe revised edilion 01 les Mura illes de 5amaris, Benoit Peeters explains: "In you pereeive il come lo a sudden and abrupt lerminalion withoul any baluslrade, (Ihe des/gn 00 Xhyslos, Ar/ Nouveau imposed almosl instan!aneously Nollhe real and a/lowing no slep onwards lo him who had reached Ihe exlremity exeepl inlo Ihe Ar/ Nouveau, Ihal whieh Viciar Harta and some olhers invenled al Ihe end 01 Ihe deplhs below. Whatever is lo become 01 poor Piranesi, you suppose al leaslIhal his XIXlh Cen/ury: Ihal style did nol have enough lime 10 develop; il could barety give labours musl in some way lerminale here. 8ul raise your eyes, and behold a seeond birth 10 some isolaled eonslruelions, losl in urban lissues wilh no link lo Ihem. The llighl 01 slairs slill higher, on which again Piranesi is pereeived, bullhis lime slanding M Nouveau where Xhyslos would breed would have Ihe opportunity lo impose ilsel!, on Ihe very brink ollhe abyss. Again elevale your eye, and a slill more aerialllight 01 lo exlend lO a whole city ils arabesques and arrebides. Slarting wilh some ollhe slairs is beheld, and again is poor Piranesi busy on his aspiring labours; and so on, buildings we knew, bul also wilh plans 01 fulure cilies designed by Ihe arehlleels 01 unlil Ihe unlinished slairs and Prianesi bolh are losl in Ihe upper gloom ollhe hall. " /900; 'He Iried lo coneeive Xhys/os up lo its mosl insignifieanl delails, imagining De Ou incey, Thomas . Conlessions 01 an English opium-ealer and olher wrilings . whal a Brüssel enlirely reinvenled by Vielor HOr/a eould have lurned in/o.(. ..) Edited wilh an introduc tion and no tes by Grevellindop. Oxlord : Oxtord University Immedialely Ihis style appeared lo us as adequale lo eoneeive a whole eity(. ..) . The Press, 1998. archilee/s 01 thal age became passionale lor a/llhe ob¡ecls Ihey were o/fered. 1I1ey 30 In 1987 , Casterman was planning lo pUbl ish a series 01 large size albums 01 designed lurniture, elolhes, inven/ed plales or wa/lpaper. Rapidly, we were able lo pietures by lamous cartoonists, The idea was that the ind ividual pages could be imagine Ihe polilieal syslem 01 Ihe ei/y, ils wealher, Ihe way 01 lile 01 ils inhabilanls." taken out and used as poslers, The concept never really took off, but 5chuiten and 35 Along his lile, Giambattista Piranesi did many ed itions (and re-edilions) Peelers were approached In lhe early stages. At Ihal lime, Fran,o is had already 01 his works. The bibliography we will use in Ih is article would be as lollows; produced a number 01 preces lor various pro iects, and although the idea 01merely "LA VILLA ROYALE DEL'AM8ROSIANA", "VARIE VEDUTE DI ROMA ANTlCA I displaying a colleclion 01p lctures did not appeal much to the authors , they decided MODERNA" and "VEDUTE DELLE VILLE ED'ALTRI LUOGHI DELLA TOSCANA" (1744); lo consolidate the disparate elements 01 5chuiten's work and include them in Ihe "ANTlCHITTA ROMANE DE'TEMPI OELLA REPUBBUCA, EDE'PRIMIIM PERATORI" (1748); "INVENZIONI DI CARCER/" (1749); "OPERE VARIE 01 ARCHITETTURA, 43 1t is remarkable how dillerent the inherent menlalities 01 Piranesi and Schuiten PROSPETTlVE, GROTTESC/I/" (1750), "LE MAGNIFlCENlE 01 ROMA" (1751), towards drawing are, no matler how mueh the resu lls re lale lo eaeh olher. Sehuilen's "RACCOLTA 01 VARIE VEOUTEO/ ROMA" (1752); "TROFEIOI OTTAVlANO rigorous perspeetive eonstruetion and academie lighling eontrasts with Piranesi's AUGUSTO" (1753); '~N TICI/ITA ROMANE"(FirsI4 VOlumes, 1756); "LETTERE ec leetie compositions, and Ihe Germanic trace 01 La Tour is very distant Irom the 01 GIUSTlFICAZIONE" (1756), "DEL LA MAGNIFICENlA EO ARCI/ITETTURA sponlaneily Ihe Italian showed in his elehings , whieh has probab ly more lo do wilh OE'ROMANI" and second version 01 "CARCERI O'INVENlIONE" (1761); "LAPIDES the olher Belg ian sehool , thal represen led by And ré Franquin (in Ihis sense , it might CAPlroUNI, IL CAMPO MARlIO" and "OESCRllIONE EO/SEGNO OELL'EMISSARIO be very clarilying lo compare Ihe Prisons wi th Franqu in's plales lor Idees Noires DEL LAGO ALBANO" (1762); '~NTICHITA O~LBANO E01 CASTEL GANOOLFO" and Edilions A.UO.l.E, 2001.) '~NTICHITA 01 CaRA" (1764): "OSSERVAZION/" and '~LCUNE VEOUTE O/ ARC/lI 44 In laet. Ihe use 01arehs and vaulls was a stalement on his innovative view on Ihe TRIOMFAU" (1765): "O/VERSE MANIERE O~OORNARE 1CAMMIN/" (1769): History 01 Roman Arehileelure (as opposed to Ihat 01 J.J Winkelmann) , having been "TROFEO OSIA MAGNIFICA COLONNA COCUOEO/ MARMO" (1773), "PlANTA 01 Ihe archeries and vaulted systems direetly taken lrom Elruseans . ROMA EDEL CAMPO MARlIO" and "VASI, CANOELABR!, SARCOPHAGI" (1778) . 45 Among those: Hadrian's 10mb from the baek, 1754; Thealre of Marcellus, 1757 ; Second edilion 01 '~NTICHITA ROMANE" (1784) Arch 01 Conslantine and Ihe Co lloseu m, 1760; Vedulla de l!' anphi lealro Flavio delto 36 Among Ihose (bolh Ihe erili es and Ihe eriliques) , Ihe mosl lamous would be "il Coliseo" , and , of course, Colosseum, 1776. the polem ie developed between Piranesi and Pierre Jean Marietle, whieh would 46 11 Campo Marzio de '1/ Anlica Roma . Rome , 1762. lead lo Ihe publicalion 01 "Ozze¡vaz ioni di Giovanni Batlisla Piranes i sopra la Leltre 47 Pieler Brueghe l The Old, worked on this lopie on Ihree dillerent oeeas ions, de Monsieur Marietle aux auleurs de la Gazetle Litléraire de l'Europe " (1765) and allhough Ihe Ih ird one did nol make ils way lill our days. 93 the "Parere su /'arehileffura" (1765) . In la Gmeffe Lilléraire de /'Europe 014 01 48 In fae!. he would finally bui ld his own "litile lower of Babel" - made of real 94 November 017 764, Marietle, Irying lo delend Greek Arehileelure had slated : "f. ..) stone- in the Pavill ion "Planel 01 Vis ions " al Ihe Hannover Inlernational Exhibi ion This aUlho, who prelers (Roman Arehileelure), does nol seem lo me lo speak o/lhe (2000). for whieh he designed Ihe seenography. Greeks wilh alllhe esleem Ihal is Iheir due. (...). There is no eomposilion Ihal is nol 49 The lerm was eoined by H.G. Wells in "The nme Traveller" (1895). lull 01 superlluous omamenl, and absolulely hors d'oeuvre. Everylhing is sacriliced 50 Aeeord ing lo Taluri, this critic ism of the concepl 01 cenler "is elearly shown in Ihe lor luxury, and in Ihe end one is lell wilh a slyle Ihal quickly beeomes ridieulous and Pianla di ampio magnifico Collegio, inserled in /he 1750 edi/ion ollhe Opere varie barbarous" (From Ihe Inlroduelion by Kevin C. lipperllo Thoughts on Arehile cture , di arehileUura" . Tafuri also acknowledges Ihe lo llowing: "11 has already been pointed as publi shed in Oppositions . Spring, 1984. 5-25.) oullhal, as lar as Ihe perspeelive eomposilions ollhe Prima parle di arehilellure e 37 From the catalogue ollhe Exhib iti on "Pi ranesi : a vision ollhe artisl through the prospeffive (1743), Piranesi presenls organisms Ihal prelend lo have a eenlralily bul eo ll eetion 01 engravings in Ihe Real Academia de Bellas Artes de San Carlos". Ihal never aehieve one. In plale X ollhal col/eelion, Ihe el/iplical eourtyard, whieh 38 1n " The Book 01 Schuilen ", Fran,ois reea ll s how his lalher galhered all his sons seems lo eonsli/ule Ihe loeus 01 Ihe organism, is seen, in Ihe reeonslruelion ollhe and daughlers and laug hllhem how lo pa inl. " /le made us draw Irom memory : plan, lo be delibera/ely inserled as a sp¡ial inlo Ihe eonlll/Uum ollhe eolumns: while he would show us a pielure, Ihen lum il over and we 'd have lo reproduce il. (...)he in Ihe "aneienllemple invenled and designed in Ihe manner ollhose whieh were would prOduce eul-paper images by Malisse or Pieasso, and ask us lO work wi/h Ihe buill in honor 01 Ihe goddess Vesla ", Ihe ouler eirele winding around Ihe Pantheon, same approaeh. » Ihe direelrix allhe s/airway, and Ihe Corinlhian eolonnade prove /0 be off-{;enler in 39 Sehu iten is in this sense , a diseiple 01 Winsor MeCay, lrom whom he will lake relalion lo one anolher and disloealed onlo independenl rings. " Taluri , Manfredo. Ihe tasle lor repelilion and preeision, as welt as lor the prospeelive represenlalion 01 "The Wicked Arehilecl: G.B. Piranesi , Helerolopia and the Voyage" in "The Sphere Ihe urban landscape. and Ihe Labyrinlh ". Cambridge , MA, 1987. 40 The differenee wilh olher eom ies arlisls thal also use the engraving aeslheties 51 "Kinemalisehe Kerker : Zur Rezeplion von Piranesis Careeri im Film und sueh as Bernie Wrighlson (see Ihe ill uslralions tor Mary Shelley's Frankenslein) or Com ic Strip ". In WAA. Giovanni Baffis/a Piranesi: Faszinalion und Ausslrahlung Andreas Marlens (Cromwell Slone) wou ld lie in a slruelural level. Wh ilsl in Ihose : Begleilpublikalion lur Auss/ellung im Grassimuseum LeipliglMuseum {ür Ihe line is used lo ereale a dramalie almosphere á la Doré, Schuiten uses illo betler Kunslhandwerk. Leipzig, Das Museum , 1994. render Ihe volumelrie speeilies 01 the eonstruetions, whieh conlers his drawing that 52 .. Gruppo di Seale omalo di magnilica ArehileeUura, le quali Slanno disposle in nineteenth-eentury" eatalog 01 invenlions» loo k. modo che eondueano a varj piani, e speeialmenle ad una Rotonda che serve per 41 As we can li nd in Fritz Lang's Melropolis (1927), but also in Robert Sehuiten's rappresenlanle lealrali"' . Prima parle di Architettura e Prospetlive, 1741 luturistie townscapes (see Roberl Sehuilen; Arehileele el Peinlre by Mauriee Culot 53 On the re levanee 01 Camera Sepolerale, see "Piranesi, teórico de la arquileclura and Dom inique Lamy, Arehives d'Arehitecture Moderne (AAM), 2000). y grabador del s. XVIII", by Leonardo Fida lgo Fonlane!. 42 The lirsl edition 01 Le Careeri was pub lished in 1745, eompris ing 14 plates . AII 54 See Alberto Cuomo's "G .B. Piranesi e I'areheologia per 'franlumi ' come sc ienze the drawigs were re -elaborated lor the seeond ed ition in 1761, where they appeared de ll a cillá," in VVAA. Da lla cilta preinduslriale alla ciltá de l capila lismo, Ed iled by numbered in Roman lrom I to XVI , two new plates being added (11 and V). Those Alberlo Carace iolo. Bo logna: 11 Mu li no , 1975. Pp 103-120, laler piates were presented in a horizontal layout (paesaggio) , whilst Ihe previous 55 1n Vogl-Góknil , Ulya; Giovanni BaUisla Piranesi: "Careeri". Zurich. Origo-Verl. lourteen were presented in a vertica l one (ritratlo). In this seeond ed ition the prisons 1958. were also darkened, as ordered by the publisher to obtain a more theatrieal elleel. 56 Immanuel Kant. Crilique 01 Judgmenl (1790). This is the way in whleh most ollhe lollowing editions have been done. As well 57 In his essay, Tafuri al so quoles May Sekle r's words on Ihis lopic: "In Ihe as the images, also the tlUe lar the series changed lrom edition to edition. From descriplion of !he prison , a stimu lalion much more eHective Ihan all usions 10 Ihe Invenlioni Capriccl di Calterl ("Imaglnary inventions 01 prisons") the title wou ld diabolieal aspeel is Ihe substilution and even Ihe deslruelion 01 whal Ihe observ er evolve to the deflnitlve carcerl d'lnvenzione (" Prisons of the Imagination"). is led to believe and suppose . (... ) Whal seems coherent al first sighl, upon closer exam ination disinlegrales; Ihe mind is finally delealed in ils allempl 10 rallOna llle Ihe irralional. " In Sekler, Pa~ l c l a May. "Giovanni Ballisla f1ranesi's Careeri:Elchings earlier argumenl 01 Giovanni is 10 be understood, when he gets woken up by the and Relaled Drawings", rile M Oualer/y 25, no. 4 (1962). Pp . 331-336. sound 01 erumbling stone masses and who deparlys to lix Ihe damage: "Come on' 58 Among Ihose, one ollhe mosl dislurbing is Ihe one poin led oul by Ulya Vogl le!'s bring iI in arder belore it all eollapses ... ". Like the Careeri, also the Tower is a GOknil in plale XIV, where Ihe presenee ollhe slairs in Ihe bollom lell eonlradiels doeument that thematlses the esthetie qualities ollhe mighty, as well as the dangers Ihe nalure ollhe piers as part ollhe same plane, in a lolally Eseher-€sque way. As 01 human megalomania along Ihe example 01 an arehiteelure out 01 control. rile the aulhor points out, "the spaee Ihal Ihe tlíghl 01 stairs oeeupies, in reality, Ihen, appreeialion 01 the ever-higher striving artistie eommunilY is mixed with the anxiely 01 does nol exisl". the eataslrophe that eould oeeur when /he genius artist loses power over his eollosal 59 In Th ibaull, Franek. Obseurae Civilales el Phanlaslieae Imagines: Visile egarée ereation and, like Goelhe 's soreerer's apprentiee is nOI able anymore to ban Ihe de "La Tour" de Sehuilen & Peelers . Se pI. 2001. ghosts he ealled." (Translalion by Joris Faeh). 60 Compare wilh Ihe prisoners and Ihe manlis-like eelebralio n in Zara. Sehui len, Fran,ois; Sehuilen, Lue. Les Terres ereuses (11): Zara , Fran,ois Sehuilen , L. Sehuilen, Les Humanoides Assoeiés, 1985 . Lisl al iIIuslra/ions 61 Inlroduelion. Thomas, Hyllon. The Drawings 01 Giovanni Bal/isla Piranesi. Faber and Faber, 1954. O, Cover: Posler lor Ihe exh ibilion "From Piranesi lo Ci lés Obs cures", in Villeneuve 62 In Enquiry inlo ... Ihe Sublime and Ihe Beaulilul (1756). The quolalion comes sur-Loto Irom Talurí. 63 1n his arliele HISTOIRES EN FORME OE PLANETES , DE VILLES ET DE BATEAUX 1. PLATE 1. Coveringthe Tower . Two examples 01 "Iileral Iranslalions " 110m 95 (published in les Cahiers de la Bande Dessinée n' 69 , May-June 19B6), Th ierry Piranesi 's imag inary. Top: eover 01 !he Freneh ed ilion ollhe album and engraving Smolderen delines Ihe double poinl 01 view Iha!. aeeording lo Ihe wriler John W. enlilled Spaceato degli Speroni, i quali servono de eontralorti al gran Fondamento 96 Campbell , musl guide Ihe erealion 01 imag inary worlds: "Dans une lel/re dalanl del Mausoleo d'ElioAdriano (Le Anliehiti Romane IV, 1756). Bollom: ma in tille de 1952, John W. Campbell Jr (.. .)se mon/re Ires préeis sur un poinl de Iheorie page 01L a Tour (Spanish Ed ition , left) and lill e plate lor Deserizione e disegno qui devrail inleresser lous les apprenlis -(Jémiurges. D'aprés Campbell, /'auleur de 'lIemissario del Lago Albano (1762) . de Mission Gravily esl parvenu ¿ donner une eonsislanee "sléreoseopique " á sa planéle paree qu'iI a su: 1) Mallriser loules les données seienliliques de son 2. PLATE 11. Comies and elassieism . From lell lo righl and lop lo bollom: Images modele de monde. 2) Respeeler parlailemen/ /'inlegrile du poinl de vue d'un heros 110m "Opera Boum ", by Alex Varenne ; "Le demier spartiate" and "{he losllegions", non-humain. (.. .) Dans fUnivers á /'envers, le Monde du Fleuve el Lord Tyger (pour lrom Ihe seriesAlix , by Jaeques Martín; and "Les Lauriers de Cesar" , lrom Ihe series ne eiler que quelques exemples), la planele - le mieroeosme artifieiel- se lorme Asterix, by Albert Uderzo and René Gosei nny. en/re deux poinls de vue quasi inconciliables: eelui d'un démiurge, plaeé sur une orbite basse - ou au sommel d'une lour qui surplombe le ehamp d'aelion", el eelui 3. PLATE 11 1. Page 01 La liévre d'Urbieande (Caslerman ,1985) , where Ihe principie 01 d'un personnage immerrle dans la realité interne de la planele, dont la mission superimposilion gels inlo Ihe lield 01 deeonslruclion, when 1'110 differenl slruelures , eonsisle souvenl á eonquerir la posilion dominante (= Irouver la cié mélaphysique Ihe eity 01Urb ieande and a growing nel oeeupy Ihe same spaee al Ihe same lime. du monde, rallier le poinl de vue exleme, Iranseendan/). En exaeerbanl eel/e opposilion exleme /in/eme sur laquelle reposenllous les grands romans "en lorme 4. PLATE IV. Plausibi/ily and surrealism . On Ihis page: A leverish Franz diseovers Ihe de planéle ", Farmer esl parvenu á des résullals loul á lailludiques el laseinan/s." real nalu re 01 Ihe eily 01Samar is, a living meehan ism Ihal traps ils visilor in an ever 64 The perpelua l ehange 01 a lake urban landseape was laler explored in Alex ehang iny labyrinlh (Sehu ile n, Fr.n,ois; Peelers, Benoíl. Les murai/les de Samaris, Proyas's Dark Cily, albeil with a more se i-li approaeh Ihal, sli ll, evokes some 01t he Caslerman . Tournai. 1983) . melaphysieal 01Samaris. See Proyas, Alex. Dark Cily, New Line Cinema , 199B . 65 1n W.AA. Schuilen & Peelers. Aulour des Ciles Obseures, Mosqu ilo, 1994. P82 . 5. PLATE V. Piranesi in the Tower. Giovann i and Milena wandering Ihrough 66 In Prima parte de arehilel/ure e prospellive (1743) . Corinthian landseapes inthei r Irip through the Tower. Dn top, The Poreh olthe 67 In Taluri's words, "Th e invenlion, lixed and eireulared by means ollhe elehing, Pan/heon , Irom Ihe "Anliehile Romane" (c. 1769) renders eonerele Ihe role 01 ulopia, whieh is lO presenl an allemalive Ihal departs lrom aelual hislorieal eondilions, one Ihal prelends 10 be in a melahistorieal 6. PLATEV I. La Tour and Le Careeri d'invenzione . Top, left: The inner lan dseapes dimension - bul only in arder lo projeel inlo Ihe lulure Ihe bursling lorlh 01 present 01 rile Tower as eompared lo Piranesi 's Careeri: Irom lop righllo Ihe middle: Plale eonlradielions ." X (2nd ed ition), Plale XI (t sI edillo n) and Plale XI (2nd ed ilion). Nole Ihal Ihe 68 Huyssen, Andreas . "N ostalgia lor Ru ins" in Grey Room 23. MIT, Cambridge. image comes lrom the superimposilion 01elemenls Irom Plale XI (1) and a generie Spring 2006, pp. 6-21 . aqueduel slruelure. Bollom: Sehuilen making a rend ilion 01 Plale XV (2nd editíon). 69 "As diffieull and surprising as Ihe end 01 Ihis graphie novel may seem, Ihere is an argumenl aboulthe limils 01 arehileelUre and Ihe human intelleellhal gels 7. PLATEVII. Complexily wilhout eOnfradielion . Sehuilen's beaulitul rendering lormulaled with quire some preeission. The Tower, whose spirilual basis is Ihe dream eonlers un ily lo a multi -Iayered lower-wo rld where golhie inpuls can eoexisl wilh a 01 unlimiled human grealnsss, is all ivory lower Ihal can only exisl illhe inhabilanls hyperbo li e Rena issanee or f1ranesi's pieluresque vedute, invaded by vegelal ion (all negteel the view to Ihe OUler world, It is Iherelore nol neeessarily to be ealled less images lrom La Tour). real as the surrounding reali/y. bul his realily is a Iragile labríe Ihat rips appart easily; the tower is like a easlle 01 caros whose inha bilants can only move wilh ul/er eare, 8, PLATE VII I. Top hall: The circular slruelure in Plale 111 01 rile Prisons gives blrlh sinee the slighlest brealh 01 doubl eould make il eol/apse. In this sense, a/so an lo 1'110 differenl parts 01La Tour . Bollom hall: The work on the textu res remlnds 01 Piranesi's sty le in "L'anlichila d'Albano e di Caslel Gandalla. " 18. PLATE XVIII. The enyineer and Ihe Swiss clockmaker. In this page: Giovann i eneounters the eloek-like machines that the pio neers used to bu ild the Towe r. 9. PLATE IX. Top : Glovanni In one 01 his repa irmenls along the Tower. Bollom : The Cistern at Castel Gandalla (1764) lrom "fanticMa d'Albano e di Castel Gandalla." 19. PLATE XIX. Where the Prisons end. In th is page : The centre 01 the Towe r and the end 01 Giovanni 's trip, an entrop ie spiral that runs down lo the beg inning. 10. PLATE X. From Carcere Oscura to Ihe Carceri. Top .lel!: Piranesi 's rendering 01 Carcere Oscura .. . (Prima Parle di Arehiletture e Prospellive, 1743) seems Ihe ma in 20. PLATE XX. The book 01 Prisons: IIl uslration published in The Book 01 Schuiten inspirion 101 Sehu ilen spalial organ izalion in la Tour. Some 01 Ihe panels (bollo m) (Sehuilen , Fran,ois; Peelers, Benoi!. Book 01 Sehuiten . Translaled by Catherine Me reproduce lailhlully Ihe revis ion 01 Ihe lopie Piranesi did in Plale Vial Ihe Careeri Millan. NBM Publishing Company. 2004). (righ!: , linal vers ion: nole Ihe pulley molil; Ihe rope hang slra ight in earli er versions) 01 in Plale XIV, whose lighling is Ihe one used by Sehuiten. The pillars, however, are 21. PLA TE XXI. The Tower. Giovanni and his Iriends : IIlustralion publ ished in The redesigned aeeording lo Ihe eislem type. Areh ivisle (Sehu iten, Fran,ois; Peeters, Benoif. L'areNviste , Caslerman. Tournai. 1987). Surrounding Giovanni, a buneh 01 painle rs, among Ihe greatesl ot Iheir lime: 11. PLATE XI. Prison and Mausoleum . As Ihey aseend Ihrough Ihe higher leve ls Corot, Coubert, Manet, De/aeroix and, al the baek. the " dreadlul "Gustave Doré . 01 the Tower , Giovanni and Milena gel inlo a lravel through Piranesi 's vedule . Top , left: Camera Sepolerale ... (Prima Parte di Arehilellure e Prospellive, 1743) . Bollom : Ruins in The Tower (bollom, lelt) and in Piranesi's Porticum Panthei (bollom , eenter; Copyrights 01 imayes as lollow: 11 Campo Marzio Del/~ntiea Roma , 1762), Avanzo del Tempio del/a Speranza 97 Ve eehia (Righl; Le Anlieh ilá Romane 1,1756), and Tempio di Minerva Medica vieino "le dernier spartiate " and "les léyions perdues" © Caslerman . Copyright Spanish 98 á Porta Mayyiore (bollom, right; Varie Vedule, 1745). ed ilion : "las legiones perdidas" © Oikos-Tau, Barce lona. 1970.

12. PLA TE XII . Renaissanee and Baroque . Top. left: The central spi ne 01the Tower "les Lauriers de César" © Dargaud. Copyright Span ish edition: "l os laureles del resembles Ihe depielion 01 the Tower 01 Babel by Pieler Brueghel, the old. Right César" © Grijalbo-Dargaud, Ba rc elona, 1972. (Iop lo bollom: Giovann i eonlemp lates a pielu re 01 The Tower, and images 01 The Great Tower 01 Babel and The Smal/ Construetion 01 the Tower 01 Babel, bolh ot "Opera Boum" © Al ex Vare nne 1563. Bollom: The world 01 the Renaissa nee "Elo i", dep ieled in a Ihoroug h centra l perspeelive . "Les Murailles de Samaris ", "L a ñevre d'Urbieande " , "la Tour", L~rchiviste " © Caslerman. Copyrig ht Portuguese ed illon: "As Muralhas de Samaris" © Witl ool 13. PLA TE Xll f. Sehuiten's vedute . Apses and niehes in the Tower (Iop , left and Ed i,oes, Abri l de 2003. Copyrighl Spanish edilion "la torre" © Euroeom ie , righl) and in Piranes i' s triumpha l areh-like struetures. Center, righ!: Tempio deno Madrid, 1988. volgarmente di Giano (Vedule di Roma , 1778). Bollom: Una del/e due Forniei di Stertinio nel Foro Boario (Le Anti ehilá Romane 1, 1756) . "Book 01 Sehuiten " © NBM Publishing Company. 2004.

14. PLATE XIV. Arehitenura, ProspeUive, Candelabri, et a/tri. In their trip, Milena and Giovanni come aeross lantaslie eo nslruetions imagined by Piranesi. Top, righ!: Kupler's suggeslion 01 a preeedenl in "Gruppo di Seale ornato di magnifica Alehite ettura, le quali stanno disposte in modo che conducano a varj piani, e speeialmente ad una Rotonda che serve per rappresentanze tealrali" (Prima parle di Arehilellura e Prospellive. 1743). The panel (bollom, left) , is really a superposilion 01 "Galleria grande di statue" (boltom,righl; Prima parte di Arehilellura e Prospelliva) and one 01 Ihe molils 01 "Monumento antieo e due vasi" (Iop , left; Vasi, Candelabri. Cippi 1, 1778).

15. PLATE XV. ~Anli e hitá di Albano . Top, left: Prospettiva del/a piSCina del/e medesima conserve ... Bollom, left: ProspeUiva del/a Seal/a del/a Conserva d'aequa .. .(Bolh Irom ~A n li e h i tá di Albano e di Casle l Gandalla, 1764).

16. PLATE XVI. Th e inner voyeur Giamballisla, in his "Iree wandering Ihrough Ihe Prisons" ollers us visions 01N ewlon's "absol ule spaee ".

17. PLATE XVII. Dn lop: The dlslurbing "impossible slairs" in Plale XIV ollhe Prisons. Bollom: Escher's amb lguous slairs in Relativity, and Sehuiten 's ladders as eompared lo Ihe impossl bl e aseenl in Eseher's Belvedere. Bibliography Wittkower,Rudol l. "Piranesi as an archilec!" in Sludies in the lIalian Baroque . London, 1975. 247 -5B ,

1. Seleeled blbllography DO Gia mbattisla Piraoesi !l. Seleeled bibliography DO Frao ~ o is Seh uileo Allieri, M. " 11 complesso del Priorato aIl'Aventino." In !:Santoro et al. , eds. Piranesi nei luoghi di Piranesi. Rome, 197 9, 411. Castro , Rolaod ; Peeters , Benoi!; SChu iten, Fran,o is: «Un lieu d'images" in "Connaissanee des arls" n.460, Juoe 1990, pp.80-87 Contessi , Giann i. Serillure Disegnale. Arte, Arehilellura e Didallica da Piranesi a Ruskin. Serie "Nuovi Saggi ". Ed iziooi Oedalo, Ba ri. 2003. Groensteen, Thierry . • Sehuilen" , in "le cahiers de la bande dessinee", n.56, 19B4.

De Quincey, Thomas. Conlessions 01 an English opium-ealer and olher writings. lameiras, Joao Miguel; Santos, Joao Ramalho; Schu iten, Fran,o is; Peeters , Benoit Ediled wilh an introduction and notes by Greve l Lindop . Oxford ; Oxford As cidades visíveis: a história do 10 . Congresso sobre as cidades Universily Press, 1998. obscuras de Sehuilen e Peeters e dos estranhos acon lecimenlos que aí oco rreram. Organiza,ao de Joao Migue l Lameiras e Jo,o Ramalho Eisenstein, Sergei. "Pi ranes i, or The Fluidily 01For ms" in "The Sphere and the Santos, com il ustra,óes de Fran,ois Sehuiten e posláeio de Benoif Labyrinth". Cambridge, MA, 1987. Firsl appearance in Opposilions 11. Peeters. Lisboa: Ed i,óes Cotovia : Bedeteea de Lisboa, 1998. The Inslilute lor Architeeture and Urban Stud ies/ MIT Press, 1978. Peeters , Benoi!; Sehuiten, Fran,ois. Maison Aulrique: melamorphosis 01 an ArI 100 99 Fieacei, luigi. Piranesi: The Complele Elchings. Kó ln; New York ; Tasehen , c2000. nouveau nouse . Trans lation, Marie-Fran,o ise Pinteaux-Jones; photo graphs , Marie-Fran,o ise Plissa rt; lay-out :Martine Gillet Bruxe ll es ; les Kaulmaon , E. "Piranesi, Algarolli, and Lodoli (A Conlroversy in 181h CenlUry impress ions nouvelles, e2004 . Venice). " GBA (1955) Verne , Jules. !'aris au XXe siéele; suivi de, Une vil/e idéale. II lustrations par Fran,o is Kieven , E. Von. Bemini bis Piranesi. Romisehe Arehilek/Urzeiehnungen der Barock. Schu iten; étab li ssement du texte Véron ique Sed in et Piero Gondolo della Stultgart, 1993 . Riva ; [édition , Véro nique Bed in avec Ma rianne lechap tj. Paris: Haehelte, c1995 Mayor, A. Hyalt. Giovanni Baaisla Piranesi. New York: H. Bittner and Company, 1952. WAA. Sehuilen & Peeters. Aulour des Cilés Obseures , Mosqu ito , 1994.

Pazzi , Sandro (a cura di). Giovanni Baaisla Piranesi: slampe del Gabinello del/e 111 . Seleeled bib li og raphy by Fra n~ o is Sehu iteo slampe e dei disegni della Biblioleea eomunale di Fermo : Fermo, Chiesa del Carmine dal191ugilo al 23 novembre 2003 (Texts by, Maria Chiara 111 .1. Mulalioos leonori , Anna lo Bianco). Ita ly: s.n. , 2003 SChu iten , Fran,ois; Renard, Claude. Aux médianes de Cymbiola. Les Humano'ides Perona Sanchez, Jesús J. La Utopia Anligua de Piranesi. Universidad de Murcia. Associés , 1980. Servicio de Publ icaciones . Murcia, 1996. SChui len , Fran,ois; Renard, Claude. Le Rail, les Humanoides Associés, 1982. Piranesi, Giovanni Battisla. "!'arere su'I/Architellura" (1756) in Opposilions . Spring , 1984. 5-25. 111.11 , Les Terres ereu ses

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Thomas, Hyl ton. TIle Drawings 01 Giavanni Ballisla Piranesi. Faber and Faber, 1954 5chu iten, Fran,ois; SChu iten, luc. Les Terres creuses (11) : Zara , l es Humanoides Associés , 1985 WAA. Piranesi (Giambattisla Piranesi: Le Anliehila Romane, Careeri, Aleune Vedute di Arehi Trianlali, Vedule di Roma). The Montreal Museum 01 Fine Arts Schu iten, Fran,ois; Sehuiten, Luc. les Terres creuses(lI l) : Nogego n, les - Fondazione Antonio Mazzotta. 2001 . Humanoides Associés. 1990

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Sehuiten, Fran,ois & Peeters, Benoi!. Encyclopédie des transports présenls el a venir par Axel Wappendorf, Casterman . To umai. 1988.

Sehu iten , Fran,ois; Peelers, Be noi!. Le musée A. Desombres: catalogue rai sonné des oeuvres el des biens ayanl appartenu a Auguslin Desombres , 101 Fran,ois Sehuiten, Benoit Peeters, Marie-Fran,oise Plissart. F. Young , 1 Gén ieo!. Caslerman , Touma i. 1990.

Sehu ilen, Fran,ois; Peelers, Benoi!. Brüsel. Caslerman, Toumai. 1992.

Sehuilen, Fran,ois; Peeters, Benoi!.l'écho des cilés. Casterman, Tournai. 1993.

Sehu iten , Fran,ois; Peeters , Benoi!. L'enlant penchée . Casterman, Tourna i. 1995.

Sehuiten, Fran,ois; Peeters, Benoi!. Le guide des Cités obscures. Caslerman, Toumai. 1996.

Sehu ilen, Fran,ois; Peelers , Benoit.l'ombre d'un homme . Caslerman , Touma i. 1999.

Sehuilen, Fran,ois; Peeters, BenoR Voyages en Ulopie. Casterman , Toumai. November, 2000.

Sehuiten , Fran,ois; Peeters, Benoi!. La Frontiére invisible, lome 1. Caslerman, Toumai. 2002.

Sehuiten, Fran,ois; Peete rs, Benoit La Frontiére invisible, tome 2. Casterman , Toumai. 2004.

Sehuilen, Fran,ois; Peeters , Benoit Book 01 SchU/)en. Translaled by Calherine Me Millan. NBM Publish ing Company. 2004

Sehuiten , Fran,o is; Peeters , Benoit. Les Portes du Possible . Casterman , Touma i. Oelober, 2005.

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