a guise for language but a disguise. It is fascinating to work with people on books about their work, because everyone realises the relative permanence of a book. The second example draws on the tradition of scribal marginalia and biblical commentary. Making a design-driven book was very appealing. JW: So do you approach publication design differently now? When you are dealing with iconic subjects you try to make moves that are appropriate and distinctive without straying too far. They created the images using the luminous screen of a computer, and then transferred the digital images to films for use in photogravure, an etching process of great tonal sensitivity and detail. You immerse yourself and develop a fast and deep expertise that you then act upon. What did people make of what you just put up on the wall?
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This is an earlier version of the essay, deconstruction and Graphic Design, published in our book Design Writing Research. 1963) collaborate in their art and their design. The name of their studio, Design Writing Research, refers to their work as designers as well as writers, and points to their larger concern to approach design as a form of authorship. Abbott Miller are the founders and directors of the graphic design program at the Maryland Institute of Art, as well as the authors of numerous books on design (Mixing Messages, Dimensional Typography, Mechanical Brides, see pages 25-26).
Glas makes the scholarly annotations of medieval manuscripts and the accidental juxtapositions of modern newspapers part of a deliberate authorial strategy. Is this you crossing over into fine art? In Wigleys view, deconstruction in architecture asks questions about modernism by re-examining its own language, materials, and processes. In a weird way, having Ray and Charles Eames on one side and Matthew Barney on the other I feel somewhere right in between. Speech draws on interior consciousness, but writing is dead and abstract. The seeds of modernization were present in Gutenbergs first proofs; their fruits are born in the self-conscious methodologies, professionalized practices, and standardized visual forms of printers and typographers, which, beginning in the late seventeenth century, replaced an older notion of printing as a hermetic art. If Kinrosss history of modern typography spans five centuries, so too might another history of deconstruction, running alongside and beneath the erection of transparent formal structures and coherent bodies of professional knowledge. The Western philosophical tradition has denigrated writing as an inferior copy of the spoken word. Following the logic of the MoMA project, his story begins with Constructivism and ends with its deconstruction in contemporary design; unlike Wigley, however, Meggss story depicts early modernism as a purely rational enterprise.