The book’s space interviews: Oasis Hotel


23 ott The book’s space interviews: Oasis Hotel

Book: Oasis Hotel
Photographs: Nicoló Degiorgis
Book design: Nicoló Degiorgis
Editor: Rorhof
Date of publishing: May 2014
N° of copies: 500
Dimensions: 16×24 cm
Binding: Leporello/Concertina
Paper: Fedrigoni Arcoprint Milk 300gr


Which are the 5 indispensable pictures for this book?

Photographer: I don’t think this book contains particular key images. Any 5 spread throughout the book could be chosen as such.

What is the framed structure of this book?

P: In order to create the framed structure of the book, I edited little shirt stories composed of 4 images each, as if someone would look into a window on the road. The result is a book that resembles a storyboard, so to emphasise the narrative aspect of the images.

How did you choose your book designer?

P: I designed the book myself, but I picked someone I trusted (Walter Hutton) to overview the work and to design the cover. In the first place he is a friend I trust, but he is also someone I feel close to in the design approach and who had already designed photobooks.

How did you develop the work on the book?

P: Oasis Hotel was a book developed over five years. It took a long time to edit a great amount of pictures by colour and to find at the same time a narrative. The images very different form each other in the photographic language, which made the work harder, but also enabled to engage differently with the photographs.


Which narrative slant did you choose for this book and why?

P: I decided to narrate the story from day until night by ordering the photographs by colour. Since the book is about the daily life along a highway in China, the leporello form with the fading of the colours enables to create a constant movement that recalls a journey along the road.

What’s the difference between the book and the photographic project slant?

P: No difference in my opinion.


How did you choose the materials and the kind of printing?

P: The book is meant to work also as installation and therefore I decided to use a rather thick paper, 300gr. The materials where chosen in order to fit other Rorhof publications. Since the photographs where printed directly into the book, without passing through any postproduction, and printed on uncoated paper, I decided to use an additional black in order to give more contrast in the dark areas of the images.

How the materials’ choices are connected to the photographic project?

P: The connection between materials and photographic project is limited to the cover, which is meant to recall sand and dust (since it’s a project concerning in a desert).

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