Yuncu, BelginUlta, Zeynep TunaOner, Aslı2023-06-162023-06-1620221301-57372630-5976https://doi.org/10.32600/huefd.958012https://search.trdizin.gov.tr/yayin/detay/1133581https://hdl.handle.net/20.500.14365/4095This paper aims to present a different approach to the notion of literary space in a work of literature with regards to Henri Lefebvre’s spatial triad. Orhan Pamuk’s representation of space in his acclaimed novel; The Museum of Innocence and the actual museum along with the narrative will be referred as the case study since it is a unique example of a narrative transforming into an architectural form. Lefebvre’s spatial triad –perceived, conceived, lived space– that looks at space as a social product, will be applied as an investigatory tool to understand the notion of literary space. Relying on the fact that space can be a narrative acting independently within the narrative itself, Pamuk’s design becomes an affluent space for everyday life objects, without which, a sense of inadequacy would occur all throughout the novel and the actual museum. Conclusively, the main principle behind the selection of Lefebvre over many other existing theories on space is that Lefebvre’s spatial categories has provided the necessary grounds and flexibility in explaining the transition from a literary work into an architectural one on account of his acknowledgement that it would be better if the space in literary texts could be represented architecturally.eninfo:eu-repo/semantics/openAccessLiterary spaceHenri Lefebvrespatial triadOrhan PamukThe Museum of InnocenceArticle10.32600/huefd.958012