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‘INVISIBLE CITIES — AR’ is a visual reinterpretation of some of the most representative cities within Italo Calvino's book, “The Invisible Cities”.

The project aims to explore the creative and narrative possibilities of Augmented Reality as a tool for communication.

‘INVISIBLE CITIES — AR’ is a visual reinterpretation of some of the most representative cities within Italo Calvino's book, “The Invisible Cities”.

The project aims to explore the creative and narrative possibilities of Augmented Reality as a tool for communication.

‘INVISIBLE CITIES — AR’ is a visual reinterpretation of some of the most representative cities within Italo Calvino's book, “The Invisible Cities”.

The project aims to explore the creative and narrative possibilities of Augmented Reality as a tool for communication.

Tablets and mobile devices become the window to a previously undiscovered reality in which Calvino's cities cease to be represented merely as words and images and become entities of a new virtual realm.

Tablets and mobile devices become the window to a previously undiscovered reality in which Calvino's cities cease to be represented merely as words and images and become entities of a new virtual realm.

Tablets and mobile devices become the window to a previously undiscovered reality in which Calvino's cities cease to be represented merely as words and images and become entities of a new virtual realm.

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The Cities.

In the book, the dialogues between Marco Polo and Kublai Khan work as a guiding thread for the author to describe the different cities that the venetian merchant has visited throughout his travels. These places are not real, but embody a timeless idea of ‘the city’ in which, through a wide range of symbols and allegories, different issues related to life in the contemporary metropolis are addressed.


The Cities.

In the book, the dialogues between Marco Polo and Kublai Khan work as a guiding thread for the author to describe the different cities that the venetian merchant has visited throughout his travels. These places are not real, but embody a timeless idea of ‘the city’ in which, through a wide range of symbols and allegories, different issues related to life in the contemporary metropolis are addressed.


Zaira

«The city does not tell its past,
but contains it like the lines of a hand,
written in the corners of the streets.»

Zaira

«The city does not tell its past,
but contains it like the lines of a hand, written in the corners of the streets.»

Zaira

«The city does not tell its past, but contains it like the lines of a hand,
written in the corners of the streets.»

Zaira

«The city does not tell its past,
but contains it like the lines of a hand, written in the corners of the streets.»

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Olinda

«Olinda is certainly not the only city that grows in concentric circles, like tree trunks which each year add one more ring. But In Olinda: the old walls expand bearing the old quarters with them, enlarged, but maintaining their proportions on a broader horizon at the edges of the city.»

Zemrude

«It is the mood of the beholder which gives the city of Zemrude its form. (...) You cannot say that one aspect of the city is truer than the other, but you hear of the upper Zemrude chiefly from those who remember it, as they sink into the lower Zemrude.»

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Melania

«At Melania, every time you enter the square, you find yourself caught in a dialogue (...) You return after years and you find the same dialogue still going on.»

Beersheba

«It is true that the The city is accompanied by two
projections of itself, one celestial and one infernal;
but the citizens are mistaken about their consistency.»

Beersheba

«It is true that the The city is accompanied by two projections of itself, one celestial and one infernal; but the citizens are mistaken about their consistency.»

Beersheba

«It is true that the The city is accompanied by two projections of itself, one celestial and one infernal; but the citizens are mistaken about their consistency.»

Beersheba

«It is true that the The city is accompanied by two projections of itself, one celestial and one infernal; but the citizens are mistaken about their consistency.»

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Sofronia

«The city of Sofronia is made up of two half-cities.
One is permanent, the other is temporary, and when the period of its sojourn is over, they uproot it, dismantle it, and take it off, transplanting it to the vacant lots of another half-city.»

Sofronia

«The city of Sofronia is made up of two half-cities. One is permanent, the other is temporary, and when the period of its sojourn is over, they uproot it, dismantle it, and take it off, transplanting it to the vacant lots of another half-city.»

Sofronia

«The city of Sofronia is made up of two half-cities. One is permanent, the other is temporary, and when the period of its sojourn is over, they uproot it, dismantle it, and take it off, transplanting it to the vacant lots of another half-city.»

Sofronia

«The city of Sofronia is made up of two half-cities. One is permanent, the other is temporary, and when the period of its sojourn is over, they uproot it, dismantle it, and take it off, transplanting it to the vacant lots of another half-city.»

Procopia

«Each year, as soon as I entered the room, I raised the curtain and counted more faces: sixteen, twenty-nine, forty-seven...

This year. finally, as I raise the curtain, the window frames only an expanse of faces: from one corner to the other, at all levels and all
distances (...) Even the sky itself has disappeared.»

Procopia

«Each year, as soon as I entered the room, I raised the curtain and counted more faces: sixteen, twenty-nine, forty-seven... This year. Finally, as I raise the curtain, the window frames only an expanse of faces: from one corner to the other, at all levels and all distances (...) Even the sky itself has disappeared.»

Procopia

«Each year, as soon as I entered the room, I raised the curtain and counted more faces: sixteen, twenty-nine, forty-seven...This year. finally, as I raise the curtain, the window frames only an expanse of faces: from one corner to the other, at all levels and all distances (...) Even the sky itself has disappeared.»

Procopia

«Each year, as soon as I entered the room, I raised the curtain and counted more faces: sixteen, twenty-nine, forty-seven... This year. finally, as I raise the curtain, the window frames only an expanse of faces: from one corner to the other, at all levels and all distances (...) Even the sky itself has disappeared.»

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