Figure 6 Royal Ontario Museum, by Daniel Libeskind (ROM, 2019

REVITILIZING THE HISTORICAL ESSENCE OF THE GEM AREA THROUGH LITERARY ARCHITECTURE NOHA HATEM MOSTAFA Thus, I come underneath this chapel-side, So that the mason's levels, courses, all The vigorous horizontals, each way fall In bows above my head, as falsified By visual compulsion, till I hide The steep-up roof at last behind the small Eclipsing parapet; yet above the wall The sumptuous ridge-crest leave to poise and ride. None besides me this bye-ways beauty try. Or if they try it, I am happier then: The shapen flags and drillèd holes of sky, Just seen, may be to many unknown men The one peculiar of their pleasured eye, And I have only set the same to pen.

Hopkins wasn’t the only poet inspired by architecture, also, Gothic architecture was a huge influence on the literary works of Geoffery Hill. Hill’s fascination with the intricate details of Gothic Architecture encouraged him to introduce these details in his poems using them as a work of art. The following excerpt is from one of his literary works. (Robichaud, n.d.)

Between the sterile ornaments

Under the pasteboard baldachins

As, in the young-time, in the sap-years

Between the living floriations

Under the leaping arches (Anathemata 49)

The continuation of integrating literature with architecture opened doors to more theories and approaches that intertwine these two forms of art together. The effect literature and philosophy held over architecture continued to show, especially through the works of renowned architect and theorist; John Hejduk.

2.2. Hejduk’s Chronotope

John Hejduk is an architect and theorist who introduced new ways of thinking regarding spaces. He saw architecture through a dark lens, trying to interpret the emotional context in his works. Modern day theoristsstudy his works and theories in order to learn and implement from them (Goodwin, 2017). One of the most studied theoriesis “Hejduk’s Chronotope” which is a field of study that encourages merging space and time in architecture, making it spacio-temporal, affecting the process of creating space. Hejduk’s inspiration for this field of study was following the claims and arguments of philosopher Mikhail Bakhtina. (Smith, 2003)

REVITILIZING THE HISTORICAL ESSENCE OF THE GEM AREA THROUGH LITERARY ARCHITECTURE NOHA HATEM MOSTAFA

2.2.1.Literary Chronotope

“Chronotope” as first introduced by philosopher Mikhail Bakhtin is “a unit of analysis for studying language according to the ratio and characteristics of the temporal and spatial categories represented in that language; spatiotemporal framework and particular worldviews or ideologies in a novel.” (Chan, 2019). Mikhail’s main concept is that narrative should not just consist of a sequence of events and acts (time) but should also be constructed within a fictional world (space). His theories were highly influential in literary philosophy which encouraged John Hejduk as an architectural theorist, to relate the thoughts of Mikhail to architecture. (Bemong et al, 2017)

2.2.2. Relation between Chronotope and Architecture

Hejduk’s theories of “Chronotope Architecture” were semantic; his designs followed a sort of narration using signs and linguistics in order to adjust the spatial configuration of his projects. He considered himself a scenographer where he dramatized scenarios and isolating certain scenes in order to depict the emotions through spaces and forms. He called this “impressionist chronotope”. (Smith, 2003)

His views and theories intertwined literature and architecture in a way that encouraged more architects to follow in his footsteps. Daniel Libeskind and Peter Eisenman are two renowned architects that work with literature, emotions andthehumanitarian aspects in mind. Daniel Libeskind argued that symbolism in design creates a sort of analogy of ideas in the conception stage. By creating a multi-disciplinary approach to the project; with literature, music, art…etc. this connects the user to the soul and mind of the project. For example, Libeskind’s Royal Ontario Museum is based on the idea of having a lumionous beacon set in the corners of Toronto. That’s why his design took the form of interlocking prismatic forms. The crystalline structure is all but right angles using light and deconstruction as a way to achieve the purpose of standing out as it appears in figure (6).

Figure 6 Royal Ontario Museum, by Daniel Libeskind (ROM, 2019) Even though, Peter Eisenman takes other philosophers like Jack Derrida, Piranesi and Marcel Proust as influence for his intellectual designs. His approach is the same. He uses words, scenarios, literature,