Notebooks and Narratives. The Secret Laboratory of the Architect's sketchbook.In Recto Verso: Redefining the Sketchbook Chapter 15.Ashgate studies in Architecture Series

Research output: Chapter in Book/Report/Conference proceedingChapter

Abstract

Bringing together a broad range of contributors including art, architecture, and design academic theorists and historians, in addition to practicing artists, architects, and designers, this volume explores the place of the sketchbook in contemporary art and architecture. Drawing upon a diverse range of theories, practices, and reflections common to the contemporary conceptualisation of the sketchbook and its associated environments, it offers a dialogue in which the sketchbook can be understood as a pivotal working tool that contributes to the creative process and the formulation and production of visual ideas. Along with exploring the theoretical, philosophical, psychological, and curatorial implications of the sketchbook, the book addresses emergent digital practices by way of examining contemporary developments in sketchbook productions and pedagogical applications. Consequently, these more recent developments question the validity of the sketchbook as both an instrument of practice and creativity, and as an educational device. International in scope, it not only explores European intellectual and artistic traditions, but also intercultural and cross-cultural perspectives, including reviews of practices in Chinese artworks or Islamic calligraphy, and situational contexts that deal with historical examples, such as Roman art, or modern practices in geographical-cultural regions like Pakistan.Contents: Introduction, Angela Bartram, Nader El-Bizri and Douglas Gittens; By way of an overture: classical optics and Renaissance pictorial arts, Nader El-Bizri; Parerga - Carnet de Croquis: 'ni oeuvre, ni hors d'oeuvre', Nader El-Bizri; Palimpsest, John Hendrix; The ontological sketchbook, Robert Clarke; Plotting the centre: Bramante’s drawings for the new St. Peter’s basilica, Nick Temple; The relationship between sketching and painting in Chinese traditional aesthetics, Li Wenmin; The design sketchbook: between the virtual and the actual, Douglas Gittens; Drawn to each other: a love affair with sketches, Rachel Hurst; One wound, two wounds: the body as a site for writing, Catalina Mejia Moreno; Let’s draw the line: the hidden pages of Pakistani artists, Roohi Shafiq Ahmed and Abdullah Muhammad Iyhab Syed; The destruction of ideas: disregarding and discarding sketchbooks and avoiding prying eyes, Angela Bartram; Curating sketchbooks: interpretation, preservation, display, Miriam Stewart; My arguments with the world, Mario Minichiello; The sketchbook as collection: a phenomenology of sketching, Raymond Lucas; Notebooks and narratives: the secret laboratory of the architect’s sketchbook, Paul Clarke; Sketchbook or reflective journal? Documenting the practical PhD, Christine Turner; Bibliography; Index.
LanguageEnglish
Title of host publicationRecto Verso: Redefining the sketchbook
Place of PublicationAshgate London
Pages207-223
Publication statusPublished - May 2014

Fingerprint

Notebook
Recto
Sketchbooks
Artist
Art
Love Affair
Creativity
Basilica
Education
Optics
Prophet Muhammad
Aesthetics
Ontological
Creative Process
J.M.W. Turner
Miriam
Conceptualization
Overture
Designer
Historian

Cite this

@inbook{ca54c174a4fe4c75b98c718654aebca5,
title = "Notebooks and Narratives. The Secret Laboratory of the Architect's sketchbook.In Recto Verso: Redefining the Sketchbook Chapter 15.Ashgate studies in Architecture Series",
abstract = "Bringing together a broad range of contributors including art, architecture, and design academic theorists and historians, in addition to practicing artists, architects, and designers, this volume explores the place of the sketchbook in contemporary art and architecture. Drawing upon a diverse range of theories, practices, and reflections common to the contemporary conceptualisation of the sketchbook and its associated environments, it offers a dialogue in which the sketchbook can be understood as a pivotal working tool that contributes to the creative process and the formulation and production of visual ideas. Along with exploring the theoretical, philosophical, psychological, and curatorial implications of the sketchbook, the book addresses emergent digital practices by way of examining contemporary developments in sketchbook productions and pedagogical applications. Consequently, these more recent developments question the validity of the sketchbook as both an instrument of practice and creativity, and as an educational device. International in scope, it not only explores European intellectual and artistic traditions, but also intercultural and cross-cultural perspectives, including reviews of practices in Chinese artworks or Islamic calligraphy, and situational contexts that deal with historical examples, such as Roman art, or modern practices in geographical-cultural regions like Pakistan.Contents: Introduction, Angela Bartram, Nader El-Bizri and Douglas Gittens; By way of an overture: classical optics and Renaissance pictorial arts, Nader El-Bizri; Parerga - Carnet de Croquis: 'ni oeuvre, ni hors d'oeuvre', Nader El-Bizri; Palimpsest, John Hendrix; The ontological sketchbook, Robert Clarke; Plotting the centre: Bramante’s drawings for the new St. Peter’s basilica, Nick Temple; The relationship between sketching and painting in Chinese traditional aesthetics, Li Wenmin; The design sketchbook: between the virtual and the actual, Douglas Gittens; Drawn to each other: a love affair with sketches, Rachel Hurst; One wound, two wounds: the body as a site for writing, Catalina Mejia Moreno; Let’s draw the line: the hidden pages of Pakistani artists, Roohi Shafiq Ahmed and Abdullah Muhammad Iyhab Syed; The destruction of ideas: disregarding and discarding sketchbooks and avoiding prying eyes, Angela Bartram; Curating sketchbooks: interpretation, preservation, display, Miriam Stewart; My arguments with the world, Mario Minichiello; The sketchbook as collection: a phenomenology of sketching, Raymond Lucas; Notebooks and narratives: the secret laboratory of the architect’s sketchbook, Paul Clarke; Sketchbook or reflective journal? Documenting the practical PhD, Christine Turner; Bibliography; Index.",
author = "Paul Clarke",
year = "2014",
month = "5",
language = "English",
isbn = "978-1-4094-6866-0",
pages = "207--223",
booktitle = "Recto Verso: Redefining the sketchbook",

}

Notebooks and Narratives. The Secret Laboratory of the Architect's sketchbook.In Recto Verso: Redefining the Sketchbook Chapter 15.Ashgate studies in Architecture Series. / Clarke, Paul.

Recto Verso: Redefining the sketchbook. Ashgate London, 2014. p. 207-223.

Research output: Chapter in Book/Report/Conference proceedingChapter

TY - CHAP

T1 - Notebooks and Narratives. The Secret Laboratory of the Architect's sketchbook.In Recto Verso: Redefining the Sketchbook Chapter 15.Ashgate studies in Architecture Series

AU - Clarke, Paul

PY - 2014/5

Y1 - 2014/5

N2 - Bringing together a broad range of contributors including art, architecture, and design academic theorists and historians, in addition to practicing artists, architects, and designers, this volume explores the place of the sketchbook in contemporary art and architecture. Drawing upon a diverse range of theories, practices, and reflections common to the contemporary conceptualisation of the sketchbook and its associated environments, it offers a dialogue in which the sketchbook can be understood as a pivotal working tool that contributes to the creative process and the formulation and production of visual ideas. Along with exploring the theoretical, philosophical, psychological, and curatorial implications of the sketchbook, the book addresses emergent digital practices by way of examining contemporary developments in sketchbook productions and pedagogical applications. Consequently, these more recent developments question the validity of the sketchbook as both an instrument of practice and creativity, and as an educational device. International in scope, it not only explores European intellectual and artistic traditions, but also intercultural and cross-cultural perspectives, including reviews of practices in Chinese artworks or Islamic calligraphy, and situational contexts that deal with historical examples, such as Roman art, or modern practices in geographical-cultural regions like Pakistan.Contents: Introduction, Angela Bartram, Nader El-Bizri and Douglas Gittens; By way of an overture: classical optics and Renaissance pictorial arts, Nader El-Bizri; Parerga - Carnet de Croquis: 'ni oeuvre, ni hors d'oeuvre', Nader El-Bizri; Palimpsest, John Hendrix; The ontological sketchbook, Robert Clarke; Plotting the centre: Bramante’s drawings for the new St. Peter’s basilica, Nick Temple; The relationship between sketching and painting in Chinese traditional aesthetics, Li Wenmin; The design sketchbook: between the virtual and the actual, Douglas Gittens; Drawn to each other: a love affair with sketches, Rachel Hurst; One wound, two wounds: the body as a site for writing, Catalina Mejia Moreno; Let’s draw the line: the hidden pages of Pakistani artists, Roohi Shafiq Ahmed and Abdullah Muhammad Iyhab Syed; The destruction of ideas: disregarding and discarding sketchbooks and avoiding prying eyes, Angela Bartram; Curating sketchbooks: interpretation, preservation, display, Miriam Stewart; My arguments with the world, Mario Minichiello; The sketchbook as collection: a phenomenology of sketching, Raymond Lucas; Notebooks and narratives: the secret laboratory of the architect’s sketchbook, Paul Clarke; Sketchbook or reflective journal? Documenting the practical PhD, Christine Turner; Bibliography; Index.

AB - Bringing together a broad range of contributors including art, architecture, and design academic theorists and historians, in addition to practicing artists, architects, and designers, this volume explores the place of the sketchbook in contemporary art and architecture. Drawing upon a diverse range of theories, practices, and reflections common to the contemporary conceptualisation of the sketchbook and its associated environments, it offers a dialogue in which the sketchbook can be understood as a pivotal working tool that contributes to the creative process and the formulation and production of visual ideas. Along with exploring the theoretical, philosophical, psychological, and curatorial implications of the sketchbook, the book addresses emergent digital practices by way of examining contemporary developments in sketchbook productions and pedagogical applications. Consequently, these more recent developments question the validity of the sketchbook as both an instrument of practice and creativity, and as an educational device. International in scope, it not only explores European intellectual and artistic traditions, but also intercultural and cross-cultural perspectives, including reviews of practices in Chinese artworks or Islamic calligraphy, and situational contexts that deal with historical examples, such as Roman art, or modern practices in geographical-cultural regions like Pakistan.Contents: Introduction, Angela Bartram, Nader El-Bizri and Douglas Gittens; By way of an overture: classical optics and Renaissance pictorial arts, Nader El-Bizri; Parerga - Carnet de Croquis: 'ni oeuvre, ni hors d'oeuvre', Nader El-Bizri; Palimpsest, John Hendrix; The ontological sketchbook, Robert Clarke; Plotting the centre: Bramante’s drawings for the new St. Peter’s basilica, Nick Temple; The relationship between sketching and painting in Chinese traditional aesthetics, Li Wenmin; The design sketchbook: between the virtual and the actual, Douglas Gittens; Drawn to each other: a love affair with sketches, Rachel Hurst; One wound, two wounds: the body as a site for writing, Catalina Mejia Moreno; Let’s draw the line: the hidden pages of Pakistani artists, Roohi Shafiq Ahmed and Abdullah Muhammad Iyhab Syed; The destruction of ideas: disregarding and discarding sketchbooks and avoiding prying eyes, Angela Bartram; Curating sketchbooks: interpretation, preservation, display, Miriam Stewart; My arguments with the world, Mario Minichiello; The sketchbook as collection: a phenomenology of sketching, Raymond Lucas; Notebooks and narratives: the secret laboratory of the architect’s sketchbook, Paul Clarke; Sketchbook or reflective journal? Documenting the practical PhD, Christine Turner; Bibliography; Index.

M3 - Chapter

SN - 978-1-4094-6866-0

SP - 207

EP - 223

BT - Recto Verso: Redefining the sketchbook

CY - Ashgate London

ER -