Interstices: journal of architecture and related arts最新文献

{"title":"Presence","authors":"R. Jenner","doi":"10.24135/ijara.v0i0.551","DOIUrl":"https://doi.org/10.24135/ijara.v0i0.551","url":null,"abstract":"<jats:p>***</jats:p>","PeriodicalId":403565,"journal":{"name":"Interstices: journal of architecture and related arts","volume":"37 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115157745","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Drawing Canyon: Sfumato presences in drawing and landscape","authors":"S. Twose, J. Moloney","doi":"10.24135/ijara.v0i0.554","DOIUrl":"https://doi.org/10.24135/ijara.v0i0.554","url":null,"abstract":"Drawings are fields of multiple, hovering presences. A rapidly sketched line in an architectural drawing, of say, a landscape, describes its form but can also record its presence, evoking vastness or a dynamic material potential. Yet the sketch is itself imbued with presence; smudges, blurs and erasures record the rapid actions of pencil over paper in the draughtsperson’s pursuit of an architectural idea. The blurs of graphite are evidence of hand and mind moving over paper and, at the same time, massive atmospheric potentials of rock, mud and sea. In this way, the sketched mark continually hovers between being a smudge of graphite and an immense landscape, the presences in both inflecting one another as if sfumato lights and darks in a painting. This paper reports on Canyon, an experimental drawing project that intensifies drawing’s capacity for sfumato presences by sketching a submarine landscape using a multi-modal technique. Canyon attempts to develop an ever-emergent, nascent architecture from presences in drawing and landscape through analogue sketches, VR and soundscapes. The first stage of Canyon was exhibited at the Palazzo Bembo in the XVI Venice Biennale, 2018.\u0000Canyon draws presences from the dynamic undersea landscape of Kaikōura Canyon, Aotearoa/New Zealand. A series of hand sketches, soundscapes and virtual reality (VR) distils an architectural sense of the bathymetry and vast body of water of the canyon, recently jolted by huge forces in the 2016 Kaikōura earthquake. This submarine landscape is known through instrumental descriptions: sonic scans, digital models and scientific data, yet its powerful and ominous spatial presence is less easy to record. The Canyon drawings project into this unseen, imagined space, drawing its ominous presence through smudged and irresolute sketches that are intensified in a VR environment and in a series of immersive soundscapes. This hybrid, multi-sensorial drawing technique attempts to make presences in drawing and in the Kaikōura Canyon share the same space, as an inhabitable, open sketch.\u0000This work proposes hybrid drawing as an open medium figured by presences in drawing and in landscape. It resonates with Jean Luc Nancy’s notion of drawing as the opening of form, indicating “the traced figure’s ‘essential incompleteness, a non-closure or non-totalizing of form’” (Nancy 2013: 1). We extend the openness of gestural, analogue sketching to the digital and sensorial, and argue that VR, and sound, can be sketch-like: they too are figured by “recalcitrant, ‘meaningless’ smears and blotches” (Elkins 1995: 860). We argue these hybrid, “non-semiotic” marks draw presences, from material, scale and sense in drawing and landscape: presences that hover in sfumato relation, pointing to a sketch-like, ever-emergent architecture.","PeriodicalId":403565,"journal":{"name":"Interstices: journal of architecture and related arts","volume":"140 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116351547","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Staging tourism: Performing place","authors":"N. Boyd, J. Smitheram","doi":"10.24135/IJARA.V0I0.558","DOIUrl":"https://doi.org/10.24135/IJARA.V0I0.558","url":null,"abstract":"This project examines the relationship between architecture and the tourist experience. In architecture, an understanding of the active tourist body is underdeveloped as visuality is often positioned as the dominant mode of analysing tourism. This project mobilizes the tourist by recognising a paradigmatic shift from the”‘gaze” towards “performance”, which privileges the multisensuous experiences of the tourist engaged with architecture. The project investigates how architecture can stage and amplify the performances of tourists in order to produce place, en route. To test this enquiry, a “design through research” methodology is employed where the design proposition is developed through iterative design experiments. The design proposition is explored across three increasing scales, progressing the research through stages of development and refinement. The first experiment engages with the human scale through a 1:1 installation. The next experiment amplifies the practices of performing tourism through the design of a hotel. In the final experiment, the design of an artificial island stages the public performances of tourists.","PeriodicalId":403565,"journal":{"name":"Interstices: journal of architecture and related arts","volume":"27 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124811181","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Binding Space: The Book as Spatial Practice, Marian Macken BOOK REVIEW","authors":"C. Douglas","doi":"10.24135/ijara.v0i0.560","DOIUrl":"https://doi.org/10.24135/ijara.v0i0.560","url":null,"abstract":"<jats:p>***</jats:p>","PeriodicalId":403565,"journal":{"name":"Interstices: journal of architecture and related arts","volume":"55 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128850299","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Ex Uno Lapide: The making present of absence","authors":"Konrad Buhagiar, G. Dreyfuss, E. Joris","doi":"10.24135/ijara.v0i0.553","DOIUrl":"https://doi.org/10.24135/ijara.v0i0.553","url":null,"abstract":"This paper comments on a drawing protocol entitled the “Monolith Drawing”, with which an architectural figure is extracted out of a single volume, synchronising analogue thinking with computational development, to enter history through our capacity to long for the experience of something that is absent. The Lacanian interpretation assumes there cannot be absence in an objective world, for absence can only exist through symbolic or representative means. It is through the representational means of the Monolith Drawing that we enable ourselves, as architects, to design presence where there is none. \u0000This research explores and (re)deploys the notion of ex uno lapide in contemporary architectural production. Such creative practice recovers a tradition linking geology with architectonic drawing and operates in conceptual space through means of contained sets of formal operations to generate a particular kind of architecture. \u0000The Monolith Drawing is here explained in relation to the design of a museum extension to house a tapestry cycle by Peter Paul Rubens, adjacent to St John’s Co-Cathedral in Valletta. These tapestries represent the idea of transubstantiation. In response, the museum’s design acts as a closed vessel, a monumental reliquary, enabling a closed and controlled environment to ensure the conservation of the artwork. The reliquary is interpreted as a container of meaning, directing a reciprocal gaze towards the idea of meaningful absence. The Monolith Drawing installs two important principles. The idea of the mirror-construct, in which an object is depicted using parallel lines to project its mirror image and allow twofold vision, outwards (res extensa) and inwards (res cogitans); and the idea of ex uno lapide – a strategy where architecture is carved out of solid mass. This carving is guided by allowing the depicted object and its mirror image to intersect. Its transcriptions allow for a drawing with history; a tracing of its own tracing.","PeriodicalId":403565,"journal":{"name":"Interstices: journal of architecture and related arts","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129051217","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"John Ruskin and the Fabric of Architecture, Anuradha Chattergee BOOK REVIEW","authors":"J. Hunt","doi":"10.24135/ijara.v0i0.559","DOIUrl":"https://doi.org/10.24135/ijara.v0i0.559","url":null,"abstract":"<jats:p>***</jats:p>","PeriodicalId":403565,"journal":{"name":"Interstices: journal of architecture and related arts","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128562766","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Between presence and absence: Phenomenal interstitiality in Eisenman’s Guardiola House","authors":"Adrian Lo","doi":"10.24135/ijara.v0i0.552","DOIUrl":"https://doi.org/10.24135/ijara.v0i0.552","url":null,"abstract":"American architect and educator Peter Eisenman treats architecture as a form of text which can be read through the absent/present traces of a design process. Though the trace has been much developed in existing scholarship, Eisenman’s Guardiola House (1988) has been overlooked in terms of its analysis and interpretation. This paper proposes that the Guardiola House is a critical shift in Eisenman’s work, since for the first time the trace, through imprinting, is developed into a condition of interstitiality, which not only expresses the merging of geometries, but provides a new way of blurring concepts and space. The Guardiola House reflects Eisenman’s shift from the rule-bound transformations framed in structuralism to the complex, interpretive, and unpredictable ‘events’ of poststructuralism. This paper asks: what significance, in terms of theory, culture, and programme, does this notion of the interstitial have for Eisenman’s work, as well as for the practice of architectural design?","PeriodicalId":403565,"journal":{"name":"Interstices: journal of architecture and related arts","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121142022","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Heritage & persistence: The case of the Kaiapoi fragment","authors":"Andrew Douglas, N. Short","doi":"10.24135/ijara.v0i0.556","DOIUrl":"https://doi.org/10.24135/ijara.v0i0.556","url":null,"abstract":"This paper considers a small surviving portion of the Kaiapoi Woollens building, a warehouse and offices constructed in the central business district of Auckland, New Zealand in 1913. Demolished in 1964, a small surviving portion, now known as the Kaiapoi fragment, was left fused to its westward neighbour, the Griffiths Holdings building. When the latter, deemed to hold “little specific cultural heritage significance” (Reverb, 2016:14), was itself demolished in 2016 to make way for a new underground train station, its extraneous hanger-on to the east was left in place, raising less easily settled issues of heritage worth. \u0000Despite the minor significance of this fragment, its tenuous persistence opens broader questions about the constitution of the present and the future by cultural heritage, but also, we argue, the precarity of the contemporary present tout court, a state Hans Ulrich Gumbrecht (2004 and 2014) sees as heralding an emerging, yet still undefined, post-historicist chronotope, a space-time fusing that is characterised by a present inordinately broadened “by memories and objects form the past” (2014: 54-55). In this, Gumbrecht builds on the notion of the chronotope developed by Mikhail Bakhtin (1895–1975) in his account of particular fusions of space and time evident across the history of the novel. \u0000To better grasp the potential of Gumbrecht’s claims, we return to Bakhtin’s deployment of the chronotope and what underwrites it—dialogical exchange. Moreover, focus on a particular aspect of dialogue developed by Henri Bergson (1859–1941) assists us in rethinking the idea of space-time fusion via what Bergson (1991) himself recognised as a foundational agent capable of dissolving all spatio-temporal amalgamation—duration. \u0000Given the importance of dialogics and chronotopes in contemporary views on heritage and anthropology, we ask how Bergson’s broader emphasis on duration, and with it a “‘primacy of memory’ over a ’primacy of perception’” (Lawlor, 2003: ix), might assist us in expanding Gumbrecht’s notion of presence in heritage contexts. Following Leonard Lawlor’s recognition of a “non-phenomenological concept of presence” in Bergson (x), we attempt a provisional anatomy of presence, one prompted by, despite its diminutive scale, the Kaiapoi fragment itself. If presence can be characterised as a particular attention to the immediacy of life, we propose that heritage considered through the lens of the Kaiapoi fragment makes imaginable a deepening of immediacy towards what Bergson referred to as “attachment to life” (Lapoujade, 2018: 59-63).","PeriodicalId":403565,"journal":{"name":"Interstices: journal of architecture and related arts","volume":"84 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126200704","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Absence, silence, and the shades of Takemitsu’s Ma in Venice","authors":"Felipe Lanuza Rilling","doi":"10.24135/ijara.v0i0.557","DOIUrl":"https://doi.org/10.24135/ijara.v0i0.557","url":null,"abstract":"I propose to set up a dialogue between absence and silence; in particular, between my own interpretations of absence through layered images, and silence as it features in the musical works by Tōru Takemitsu. My layered images seek to re-present experiences of absence, as they appear to the senses in the built environment, responding to its capacity to evoke multiple, uncertain and distant presences that seem to be away from our grasp. In Takemitsu’s multi-layered and unstructured pieces, silence plays a key role in bringing about “ma” – a meaningful spatio-temporal gap or in-between condition with metaphysic connotations, of great significance in Japanese culture. Following a hint by composer Philip Dawson, and largely driven by intuition, I explore the –albeit distant– resonances of my visual work in the acclaimed Japanese composer’s music. In this way, I expand the interpretative possibilities of absence and layering in representing the vanishing atmospheres of Venice, an example of fragile existence and aggregated formation.","PeriodicalId":403565,"journal":{"name":"Interstices: journal of architecture and related arts","volume":"28 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134240616","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Beyond the State: New Zealand’s State houses from modest to modern by Bill Mackay and Andrea Stevens (review)","authors":"M. Austin","doi":"10.24135/IJARA.V0I0.484","DOIUrl":"https://doi.org/10.24135/IJARA.V0I0.484","url":null,"abstract":"<jats:p>N/A</jats:p>","PeriodicalId":403565,"journal":{"name":"Interstices: journal of architecture and related arts","volume":"296 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-03-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124240172","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}