Acting as both training camp and laboratory, it is a diverse, multidisciplinary program where unexpected collisions and obsessive attention to detail expose a rich seam of creative potential. Media Studies presents an opportunity to develop individual practice, where students hone their dexterity with established and progressive media, actively testing modes of production through focused acts of doing and making.
Image: Daniel Libeskind – Writing Machine
PRINTED MATTER 1
Wednesdays, 2pm – 5pm, NJR (except 4th October (tomorrow) which will be in Lecture Hall)
An amazing source of inspiration, the form of the book also becomes a site of exploration for the architect. The resilience of the book in our post digital age, is proof if need be of the enduring potential that the medium has to offer and from which architects can learn. The course takes its title from the famous independent bookshop in NY entirely dedicated to artists’ books, their dissemination and, sometimes, production. During this course you will visit some of the best artists’ books archives in London, initiated by Clive Phillpot in the 70’s, and look at key monuments of artists and architects’ paper production. You will also be introduced to bookbinding and visit a printing press where you will learn about the technicalities of printing. The aim of the course is to carefully consider paperspace and experiment with both its format and materiality in the context of a personal project.
Session 1: OFF-SITE VISIT: CHELSEA COLLEGE ARTIST BOOKS ARCHIVE AND TATE BRITAIN LIBRARY
Wednesday 4th Oct
Group visit to the Tate Library’s where a selection of Artists’ books will be presented by the curators.
Session 2: AA ARCHIVE
Wednesday 11th Oct
Presentation of a selection of Architects’ books by archivist Ed Bottoms.
The presentation will be followed by a discussion, where students will bring material reflecting their personal interests.
Session 3: OFF-SITE VISIT: ST BRIDE FOUNDATION LIBRARY
Wednesday 18th Oct
Group visit to a working printing press, learning about printing techniques and materials.
Session 4: BOOKBINDING WORKSHOP
Wednesday 25th Oct
WWorkshop led by guest bookbinder artist Douglas Bevans.
OPEN WEEK: WORK ON BOOK PROPOSAL
Session 5: BOOK PROPOSAL PRESENTATIONS
Wednesday 8th Nov
Students will present their first draft proposal and explain their choice of paper, format, layout, fonts etc.
Session 6: SEMINAR WITH GUEST GRAPHIC DESIGNER ROSA NUSSBAUM
Wednesday 15th Nov
Introduction to the various stages of book production, followed by individual tutorials on book project.
Session 7: INDIVIDUAL PROJECT DEVELOPMENT
Wednesday 22rd Nov
Individual tutorials on book project.
Session 8: STUDENTS BOOK LAUNCH
Wednesday 29th Nov
Students are expected to submit two copies of their finalised book project, which will have been developed throughout the course. There is no prescription on format, number of pages etc. Test prints, material samples and book dummies may also be submitted when appropriate.
In addition, students should submit an A5 booklet documenting the visits and reflecting on what they learnt throughout the course, using both text and image.
Barthes, Roland, ‘The Photographic Message’, in Image, Text, Music, trans. by Stephen Heath (London: Fontana Press, 1977)
Benjamin, Walter, ‘Unpacking my Library’, in Illuminations, trans. by Harry Zorn (London: Pimlico, 1999)
Benjamin, Walter, ‘The work of Art in the Age of Mechanical Reproduction’ in Illuminations, trans. Harry Zorn (London: Pimlico, 1999)
Borges, Jorge Luis, ‘The Library of Babel’, in Labyrinths, trans. James E. Irby, (London: Penguin Books, 1970)
Butor, Michel, ‘The book as object’, in Inventory: Essays, ed. Richard Howard (London: Cape, 1970)
De Bondt, Sara & Muggeridge Fraser, ed., The Form of the Book Book (London: Occasional Papers, 2009)
Dillon, Brian, ‘Open Stacks’ in Sorted Books by Nina Katchadourian (San Francisco: Chronicle Books, 2013)
McLuhan, Marshall and Fiore, Quentin, The Medium is the Massage, coordinated by Jerome Angel (Penguin Books, 1967)
Phillpot, Clive, Booktrek (JRP Ringier & Les Presses du Réel, 2013)
HISTORY AND THEORY
Dixon Hunt, John, Lomas David and Corris Michael, Art, Word and Image: 2,000 Years of Visual/Textual Interaction (London: Reaktion Books, 2011)
Gitelman, Lisa, Paper Knowledge: Toward a Media History of Documents (Duke University Press, 2014)
Petroski, Henry, The Book on the Bookshelf, (New York: Vintage Books, 2000)
Tavares, André, The Anatomy of the Architectural Book, (Canadian Centre for Architecture, Lars Mu?ller Publishers, 2016)
Hochuli, Jost and Kinross, Robin, Designing Books: Practice and Theory (London: Hyphen Press, 1996)
Mueller-Brockmann, Josef, Grid Systems in Graphic Design, (Stuttgart : Verlag Gerd Hatje, 1981)
Smith, Keith A., Structure of the Visual Book (Keith Smith Books, 2003)
Smith, Keith A., ‘The Book as a Physical Object’, in A Book of the Book: Some Works & Projections about the Book & Writing, Jerome Rothenberg and Steven Clay Eds. (Granary Books, 1999)