How many times have we paused while reading a book and had the feeling that we were inside a structure built, knowingly or unknowingly, by the writer? Not simply imagining the locations and architectural settings described in the text, but rather sensing our being immersed in a space, a literary space, designed by someone else.

Architectural metaphors are often used to describe literature, as in “the architecture of a novel”. Similarly, in any architectural project there is an inherent “narrative” structure, e.g. a sequence of spaces, surprises and suspensions, hierarchies of space and function, and so on. By using architecture to explore narrative we discover how many of the challenges that writers face are similar to those of architects: How should different strands of narrative be intertwined? How can chronology be rearranged in a plot sequence? How is tension expressed? What do certain narrative sequences and omissions convey or mean? How do characters connect?

The Laboratory of Literary Architecture is a cross-disciplinary exploration of narrative and space. It is for anyone interested in literature — from high school through graduate school and beyond — and, in particular, for writing, literature, and architecture students and professionals, as it explores how pure, spatial, wordless thought is an essential aspect of both literary and architectural structures.

As Alice Munro said:

A story is not like a road to follow … it’s more like a house. You go inside and stay there for a while, wandering back and forth and settling where you like and discovering how the room and corridors relate to each other, how the world outside is altered by being viewed from these windows. And you, the visitor, the reader, are altered as well by being in this enclosed space, whether it is ample and easy or full of crooked turns, or sparsely or opulently furnished. You can go back again and again, and the house, the story, always contains more than you saw the last time. It also has a sturdy sense of itself of being built out of its own necessity, not just to shelter or beguile you.
(Selected Stories, 1968-1994)




“The process of adding word to word is much the same as adding brick to brick. … I can’t think of a better course where the purposes of two arts are so finely blended.”
Colum McCann

“… one of the strangest and most interesting classes I’d ever seen.”
The Paris Review

“… rarely has architecture served the same function for writing as writing has served for architecture: to analyze and clarify.”

“The Laboratory for Literary Architecture pushes students to compose through their model a fictional architectural experience.”
The Common

“A stunning intellectual experiment.”
IL Magazine

    • Learn how to set up and organize your own LabLitArch via a series of remote, Skype or similar, conversations and informational QA sessions, (including basic curricular materials). Great for schools wishing to offer a LabLitArch workshop that can be customized to their specific curricula (high-school through graduate studies).


    • An in-depth, hands-on workshop in which teachers are presented a history of the Laboratory’s past results and then participate in a condensed version of the workshop in order to be able to hold one themselves.


    • Various length workshops tailored to each school’s or institution’s needs and budget during which all aspects of the Laboratory are explored: introduction to literary architecture, text analysis, architectural structure analysis, project and model development (in collaboration with architects), and final presentations.


    • For architects interested in applying the principles of narrative to architecture and design. Expand your creative process by using space, materials, light and volume to explore and analyze literary structures. Either as a full-length course or workshop for architecture students or as a workshop for architectural firms, the Laboratory of Literary Architecture offers a unique way to explore the common structural language of architecture and literature.




Workshop Projects

  • All
  • Columbia University
  • Turin Architecture Festival
  • Scuola Holden
  • Hebrew University of Jerusalem
  • Montgomery Blair High School
  • J.D. Salinger
  • Don DeLillo
  • Richard Ford
  • Beppe Fenoglio
  • Amy Hempel
  • Joseph Conrad
  • Stefan Zweig

The Series

In the LITERARY ARCHITECTURE SERIES, Matteo Pericoli shares some of his designs and what they reveal about the stories they are modeled on. The series has been featured in The Paris Review Daily since May 2016 and, until December 2016, also in the Italian national newspaper La Stampa. As of February 2017, the Italian series has been featured in the Italian weekly Pagina99.

    • We, too, are … suspended between tension and compression
    • Continue reading at:
    • The Paris Review | pagina99
    • We are used to seeing skyscrapers soaring on a city…
    • Continue reading at:
    • The Paris Review | pagina99
    • The two spouses’ souls … never meet nor try to know each other. They intersect without ever touching.
    • Continue reading at:
    • The Paris Review | pagina99
    • The skyscraper looming above us is composed of a clean, well-defined volume …
    • Continue reading at:
    • The Paris Review | La Stampa



CREDIT: TWIN PIXEL VIDEO, Al-Johara Beydoun (words)


In the Press


The Laboratory of Literary Architecture was created in 2010 by architect/author/illustrator Matteo Pericoli. Since then, the Laboratory has been held in the U.S., Italy, Israel, SwitzerlandTaiwan and the United Arab Emirates at the following institutions (among others):

M.F.A. writing program at Columbia University School of the Arts, New York
Department of Comparative Literature at The Hebrew University, Department of Architecture at the Bezalel Academy, Jerusalem
Center of the Arts, National Taiwan University, Taipei, Taiwan
Dubai Design Week 2016, with the Emirates Literature Foundation, Dubai, UAE
Università della Svizzera italiana, Lugano, Switzerland
University of Turin, Department of Humanities, Italy (as Laboratory of Musical Architecture)
Fondazione Sandretto Re Rebudengo, Turin (Italy)
Turin International Architecture Festival
University of Ferrara, Department of Architecture, Italy
Southwestern University, Texas
Polo Poschiavo, Poschiavo, Switzerland
CUNY’s Hunter College and Graduate Center, New York City
High schools in Maryland, California, Oklahoma and Turin (Italy)

A chapter dedicated to the Laboratory of Literary Architecture is included in the anthology titled The Routledge Companion on Architecture, Literature and The City, edited by Jonathan Charley (Routledge, 2018). In his text, Matteo Pericoli shares his journey that led to the creation of  LabLitArch; in addition, professors Jonathan Charley and Carola Hilfrich (The Hebrew University of Jerusalem) discuss its theoretical and pedagogical implications.



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The Routledge Anthology

The Routledge Companion on Architecture, Literature and The City, edited by Jonathan Charley, features a chapter on the LabLitArch, which includes a narrative on the genesis of the laboratory, images, project samples, the Literary Architecture series, as well as a dialogue between professors Carola Hilfrich and Jonathan Charley about the pedagogical implications of the LabLitArch.

Quotes from the dialogue between Carola Hilfrich and Jonathan Charley:

“One of the valuable features of the LabLitArch project is that it seems to suggest a ludic alternative to a super-rationalized modern education system.”

“It sets up a process of playful experimentation … that has all the edginess, marginality, contingency, and frustration as well as the serious stakes in liberating our thought from habitual constraints.”

“Seeing the process at work felt like being in loophole of knowledge production; a place where participants, thrown out of the respective boxes of their home disciplines, move into a hybrid, interactive, and reconfigurable field.”

“I think of Matteo’s Laboratory as a unique environment for exploring the potential of … moments where literature and architecture, words and buildings and spaces, readability and inhabitability intertwine with humans.”

“Asking us to put our hands on works of literature by architecturally removing their verbal skins, the LabLitArch makes us grasp their actual texture rather than their form or meaning, so as to shape it, collaboratively, as a habitable space.”

LabLitArch is perhaps most transformative for our thinking and doing at moments of counter-intuition, competing intuitions, mixed intuition, or intuitions that fail us; and that its emphasis on intuition, or gut feeling, includes loops through the whole body and its more intentional responses, as well as through the imagination and the environment.”

“Matteo’s Laboratory is itself a theory of intuition and failure. Intriguingly, its teaching method in collaboratively haptic creativity advances from the outset a non-subjectivist approach; and it does produce end-results, in the form of the final projects.”



“… I knew immediately that the course would shake myself and my students out of the ruts of ordinary perception. The course provided a new way of seeing. The process of adding word to word is much the same as adding brick to brick. Sometimes we build in order, only to knock down and begin again. One builds one’s stories in the same one that one hopes to build a house, or a workplace, a field, a retreat, or maybe even at times a prison cell, since prisons are intentional spaces too.
… I can’t think of a better course where the purposes of two arts are so finely blended. If we are left with books, we are also with memories of how the books were created.
I don’t doubt that some day Matteo’s vision will be realised in another way — and we will have a physical street full of books, or buildings of books, in which we can dwell. I will enter the door of Ulysses and make my way underground to Dostoyevsky and beyond. We will turn ourselves into streets, towns, countries.”
Colum McCann, writer
“LabLitArch creates a unique environment to explore the haptic interface of literature and architecture, words and buildings, readability and inhabitability. It activates its participants to grasp actual texture, rather than form or meaning, and to move rather than to focus, enhancing our sense of an open-ended plasticity of texts and the value of our embodied engagement with them. It is seminal, I believe, for a mapping of the potential choreography between our bodies, imagination, and the built environment, and for opening the gates of creative thought for writers, architects, and scholars alike.”
Carola Hilfrich, Chair of the Program in Cultural Studies, The Hebrew University of Jerusalem
“As [the Laboratory] guides writers to collaborate with architects in order to create in three dimensions, the writers certainly learn to think more deeply and more conceptually about the meaning of structure. It was intense and it was fun. What was both surprising and also profoundly valuable was that it deepened the way I read, the way I write, and the way I see.”
Bridget Potter, non-fiction writer, Undergraduate Instructor and Consultant in the Writing Center at Columbia University, and course tutor (2013)

“Attending the Laboratory of Literary Architecture was extremely liberating for my writing process. It forced me to think about fiction in architectural terms and helped me understand how every literary decision we make on the page can always be translated into a spatial idea. Building and crafting a three dimensional, literary piece and the ability to experience a piece of writing from different vantage points, was exhilarating. As I was in the last semester of my MFA and in the midst of writing my final thesis, the opportunity to think in spatial terms was particularly illuminating. Seeing the final model and its resemblance with my experience of reading the piece was uncanny.”
Javier Fuentes, former LabLitArch student (2013), Creative Writing Program, Columbia University
“At the beginning you don’t understand the connection between writing and architecture. And you think: ‘What is this for?’ You want to give up: ‘I want to write, I don’t want to glue pieces of cardboard!’ But then, all of a sudden, you realize that writing has everything you’d find in an architectural project: design, structure, space, paths, proportions, light or darkness, noise or silence. And at the end, without even understanding how, you perceive that you cannot do without this new perspective.”
Valerio Codispoti, former LabLitArch student (2013), Creative Writing Program, Scuola Holden, and course tutor
“LabLitArch was a most wonderful experience. As a design student, I was introduced to an aspect of design that’s often overlooked; a certain depth to its essence that transcends boundaries to exist on another dimension; cultivating a sensibility that holds ground in being thought provoking, other than in simply being noticed. It was an intense and fully immersive experience.”

Nihan Junaid, former LabLitArch student (2016), Dubai Design Week

“There is a good deal of seduction in an ordinary line, in the process of architecture. As poet, as architect, one must reserve space only for the essential. Thinking more visually about structure has helped me immensely in knowing how to approach my fiction writing. Though I primarily write poetry, I’ve begun to write prose and it requires a different type of structural planning, one that is truly aligned with architectural design (where will this line overlap, where do these elements repeat, how can I make this motif powerful, yet entirely subtle?). In writing, as in architecture, the suggestion of a line is more powerful than the line itself.”
Catherine Pond, former LabLitArch student (2013), Creative Writing Program, Columbia University
“LabLitArch was five days of exploring, learning, introspecting, reevaluating and, most importantly, being reminded that all of this can be tremendous fun … At LabLitArch, we built a channel of thought bridging from prose to form. By the end, we saw how prose stands in structure and how its essence had adapted to fit a new framework where grammar was physical. The process is pure alchemy as any pursuit of creative expression … The gift of the workshop is a refined sense of wonder, an enthusiasm to look for the narrative in everything around us and, more importantly, seeing and appreciating them.”
Vishnu Prasad, former LabLitArch student (2016), Dubai Design Week — architecture graduate, illustrator and writer
“This process has changed the way I approach my own writing by giving me a new way into story construction, a way that approaches its elements through newly-articulated considerations of relativity/distance, submergence, balance between internal and the reach of the outside world. All these nuances I had a lesser grasp of before taking this class.”
Joanne Yao, former LabLitArch student (2013), Creative Writing Program, Columbia University
“This is exactly the kind of learning that I think should be taking place more frequently.”
Jonathan Weller, English teacher at Redwood High School, California
“The Laboratory of Literary Architecture is an extraordinary experiment on and with readers and the resourcefulness of their imagination. By taking part in the laboratory, one discovers that experiencing the space of a text does not exclusively mean visualizing the settings described in it, but also requires performing a complex synesthetic and imaginative process.”
Marco Maggi, Università della Svizzera italiana
“The Laboratory of Literary Architecture enables the physical visualization of all those concepts and ideas that elude verbal descriptions. It is a perfect example of modern active learning, which draws on the ancient “docere cum delectare” [to teach by having fun]. The architectural models, which resulted from in-depth analysis, enabled the students to express ideas hidden within the music while offering an original and personal interpretation of the works.”
Andrea Malvano, Associate Professor of Music, University of Turin, Department of Humanistic Studies