Books On Books Collection – The Poetics of Reason (2020)

The Poetics of Reason (2020)
Text: Éric Lapierre, Ambra Fabi and Giovanni Piovene, Mariabruna Fabrizzi and Fosco Lucarelli, Sébastien Marot, and Laurent Esmilaire and Tristan Chadney. Design: Marco Balesteros
Five-volume set of perfect bound paperbacks in bellyband; laminated display letters on front cover, tinted fore-edges. H212 x W130 mm, 712 pages. Acquired from Small Projects, S.A., 19 February 2020.
Photos of the work: Books On Books Collection.

“The Poetics of Reason” was the title and theme for the fifth Lisbon Architecture Triennale in 2019 (the first was in 2007). Awarded the ADG Laus 2020 Golden Prize in the category of editorial graphic design, this work stands well with Bruno Munari’s three small 1960’s books on the square, circle and triangle, now available in a single volume, and calls to mind several works testifying to the relationship between architecture and book art. In the first of the five volumes, Éric Lapierre even interweaves with his text on architectural rationality illustrations from book artists such as Bernd and Hilla Becher, Sol Lewitt and Ed Ruscha — all without comment, in itself conveying their implicit relevance. His similar display of a page from Stéphane Mallarmé’s Un Coup de Dés Jamais N’Abolira le Hasard — that progenitor of modern and post-modern book art — speaks to the role that space — les blancs, as Mallarmé calls it — plays in these adjacent communities.

136 pages

The second volume, by Ambra Fabi and Giovanni Piovene, draws in Leon Battista Alberti, of course, whose columns ornament works by Mari Eckstein Gower, Helen Malone and many other book artists.

136 pages

Drawing on Gaston Bachelard and Juhani Pallasmaa as it does, the third volume, by Mariabruna Fabrizzi and Fosco Lucarelli, calls to mind the work of Olafur Eliasson and Marian Macken here in the Books On Books Collection and elsewhere. Anyone familiar with Richard Niessen’s The Typographic Palace of Masonry will appreciate Fabrizzi and Fosco’s exploration of where architecture, imagination and memory intersect.

136 pages

In the lengthiest of the five volumes, Sébastien Marot takes us into the territory of urban architecture and the anthropocene, also occupied by book artists Sarah Bryant, Emily Speed, Philip Zimmermann and many others.

216 pages

The last and shortest volume, put together by Laurent Esmilaire and Tristan Chadney, consists mostly of photos that may remind the viewer of Irma Boom’s Elements of Architecture, with Rem Koolhaas, or Strip, with Kees Christiaanse — especially in conjunction with the tinted fore edges.

88 pages

Referenced below, Pedro Vada’s review of the Triennale and the five separate sites across which it occurred in Portugal provides more insight into the five volumes themselves. Marco Ballesteros LETRA website provides additional images of the five volumes’ design.

Further Reading

Architecture“. 12 November 2018. Books On Books Collection.

SOCKS Studio, an extraordinary website run by Fabrizzi and Lucarelli.

Beaumont, Eleanor. 16 January 2019. “Interview with Irma Boom“, The Architectural Review.

Munari, Bruno. 2015. Bruno Munari: Square Circle Triangle. New York: Princeton Architectural Press.

Vada, Pedro. 24 July 2019. “Details about Lisbon Triennale 2019“. ArchDaily. Accessed 17 August 2021.

Books On Books Collection – Emily Speed

Unfolding Architecture (2007)

For a collection following architecturally themed book art, Emily Speed’s Unfolding Architecture (2007) is essential. The video above shows how the box’s opening and the title revealed hint at the substance of this work. What cannot be sensed from the video is how the feather weight of the box and balsa-bound book of Mohawk Superfine resonate with the unbearable lightness of being that the main character Gordon experiences as he witnesses his city structure unfold across the twenty-two panels of his story. Here is Elaine Speight and Charles Quick on the work and Gordon:

The diversity of experience enabled by the fold is made explicit in Speed’s Unfolding Architecture (2007) …, an accordion-folded book that recounts the tale of Gordon, a city dweller who witnesses the collapse of public buildings and, ultimately, his own home as the urban fabric begins to unfold around him. Housed in a balsa wood box that, somewhat alarmingly, unfolds upon opening, the fragility of the folded sheet provokes something of the protagonist’s anxiety about the undoing of his city. Yet, … the act of unfolding also produces “an open plain full of possibility” (Speed 2019). As Gordon asserts, unfolding is not the same as falling apart, and the artist’s book suggests that hope and potential may be achieved through the dismantling of existing structures.

The silk-screening adds texture and a just perceptible raised depth to the varying textures of the wood and the Canson Opalux slip that protects the colophon in the bottom of the box. Depth and varying texture repeat themselves in the accordion’s folds and paper attached to wooden covers that seem light as paper.

Gordon’s story ends with paper — an old, rolled up newspaper that reminds him of a tower (an image that appears on the colophon’s cover slip). It is a reminder that comes to him in his recognition that, in the end, “all he was able to do now was to contribute to the re-making” of his flattened world. The newspaper reminds me of the newsprint typo “manmoth” for “mammoth” that inspired Elizabeth Bishop to invent her poem “The Man-Moth”. The Man-Moth and Gordon share a surreality and a hope that resides in the imagination — that solitary tear, the man-moth’s only possession, that slipping from his eyelid, he will palm and swallow if you’re not watching …

… However, if you watch, he’ll hand it over,
cool as from underground springs and pure enough to drink.

The fusion of title, metaphor, narrative, image, technique of silk-screening, letterpress, texture of paper and wood, the workings of the accordion and box enclosure — all — with one another makes Unfolding Architecture as satisfying as the Man-Moth’s tear.

Unfolding Architecture (2007)
Emily Speed
Double-sided accordion book, attached to balsa wood covers, housed in a hinged, covered box of balsa wood. Book – H190 x W70 x D18 mm (closed), H190 x ~W2280 (open); Box – H203 x W88 x D63 mm; 24 panels, including cover panels. Edition of 90, of which this is #7. Acquired from the artist, 24 October 2020.

Further Reading

Architecture“, Bookmarking Book Art, 12 November 2018.

Emily Speed“, The Aesthetic Trust, 30 January 2012. Accessed 24 October 2020.

Speight, Elaine, and Charles Quick, “‘Fragile Possibilities’: The Role of the Artist’s Book in Public Art“, MDPI Arts 2020, 9(1), 32. Accessed 24 October 2020.