Interstices: journal of architecture and related arts最新文献

{"title":"The Auckland School: 100 years of architecture and planning. Edited by Julia Gatley and Lucy Treep","authors":"Sean T. Flanagan","doi":"10.24135/IJARA.V0I0.15","DOIUrl":"https://doi.org/10.24135/IJARA.V0I0.15","url":null,"abstract":"","PeriodicalId":403565,"journal":{"name":"Interstices: journal of architecture and related arts","volume":"31 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132112213","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":"Whethering Station: Thin surface, thick surface","authors":"John de Manincor","doi":"10.24135/IJARA.V0I0.13","DOIUrl":"https://doi.org/10.24135/IJARA.V0I0.13","url":null,"abstract":"The Whethering Station  project forms part of the PhD by Practice at RMIT University. Titled Surface and the spaces between, the thesis explores the idea of “surface and space as reciprocal and correspondent entities”, a proposition by Nader Tehrani and Monica Ponce de Leon in their seminal essay Versioning: Connubial Reciprocities of Surface and Space (Tehrani/Ponce de Leon, 2002: 18-28). The project continues a “contest” between structure and skin (Leatherbarrow/Mostafavi 2002: 7) through the creation of a modest pavilion using novel fabrication processes for thin, double-curved composite materials. This thin surface blurs the distinction between cladding and lining, obliterating the “mute workings of the section” (Blais, 1996). The work explores the possibility of occupying a surface implied by a six millimeter “thin” line.","PeriodicalId":403565,"journal":{"name":"Interstices: journal of architecture and related arts","volume":"38 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132927841","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":"The Auckland School: Celebrating the centenary of the University of Auckland School of Architecture and Planning","authors":"J. Walsh","doi":"10.24135/IJARA.V0I0.16","DOIUrl":"https://doi.org/10.24135/IJARA.V0I0.16","url":null,"abstract":"The University of Auckland School of Architecture and Planning is such a mouthful it’s no wonder it is commonly abbreviated. But “The Auckland School” is not just convenient shorthand; it’s a sobriquet that expresses affection and denotes distinctiveness. And that’s fair enough: the school is the alma mater of a majority of this country’s architects, it does have a particular character, and for nearly half of its existence it had no local peer. The school has a lot of history, exactly a hundred years’ worth, in fact, and that’s an anniversary that was duly acknowledged in The Auckland School: Celebrating the Centenary of the University of Auckland School of Architecture and Planning, an exhibition at the university’s Gus Fisher Gallery.","PeriodicalId":403565,"journal":{"name":"Interstices: journal of architecture and related arts","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125942516","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":"Interiors of Memories: A study of personal memories based on the works of Luigi Serafini and Georges Perec","authors":"Joanne Choueiri, Füsun Türetken","doi":"10.24135/ijara.v0i0.12","DOIUrl":"https://doi.org/10.24135/ijara.v0i0.12","url":null,"abstract":"Interiors of Memories: A study of personal memories based on the works of Luigi Serafini and Georges Perec is a collection of domestic spaces that uses memory as a foundation for the creation of new forms of interiors. These interiors, fantastic in nature, attempt to redefine the existing programmatic functions of the home. Built on the study of Italian illustrator Luigi Serafini’s Codex Seraphinianus (1981) and French writer Georges Perec’s Species of Spaces and Other Pieces (1997) , the authors’ memories are used to expand the understanding of space beyond its physical constraints. The in-depth exploration of both oeuvres enabled the realisation of these spaces.  The constructed spaces question the use of memory as a source material for the interpretation of various rooms of the home. The research reconstituted the entrance, the stairs, the kitchen, guest toilet, and the bedroom and re-evaluated a domestic typology and its programmatic functions. The interior spaces created merged with intangible memories enabling a shift from preset rules and functions, allowing for a different reading of the domestic interior.","PeriodicalId":403565,"journal":{"name":"Interstices: journal of architecture and related arts","volume":"198 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134443750","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":"On territorial images: Erewhon, or, chiastic desire","authors":"Andrew Douglas","doi":"10.24135/IJARA.V0I0.5","DOIUrl":"https://doi.org/10.24135/IJARA.V0I0.5","url":null,"abstract":"This paper investigates the role of territorial images in the experiencing of place. It argues that there is no territory without repetition patterns that inscribe a semiotic generating images, a ‘picturing’ that is, in fact, pivotal to the possessive and demarking dynamic implicit in territorial assemblages. Drawing a link between Hans Blumenberg’s (1985) thinking on “existential anxiety” and its reworking of horizons of unknowing in myth and the work of Gilles Deleuze and Felix Guattari (1987) on repetition patterning and the refrains of territoriality, the paper looks to modes of imagined place-solidarity emerging with the nation-state. Drawing on Andrea Mubi Brighenti’s (2010) call for an expanded territorology —itself drawing on Deleuze and Guattari’s (1987 & 1994) notions of territoriality—the paper emphasises the extent to which territory, more typically recognised as a spatial phenomenon, in fact, arises out of temporal and psychical geneses consolidating differences in modes of repetition—in the case of the nation-state, as Benedict Anderson (1991) has proposed, spanning commonly imagined daily routines, memorialising, and refashioned futures. In particular, the paper draws on the role of utopian discourse in the transition to Europe nationalism, and in turn, to the transmittal of utopian aspirations and imaginings to colonial places.  Central to the paper is a reading of Samuel Butler’s Erewhon, Or, Over the Range (1872/2013), a utopian satire set in Aotearoa/New Zealand’s Southern Alps, a novel, in fact, influential to a range of writings by Deleuze and Deleuze and Guattari. Developing links between the novel’s philosophical uptake; its deployment of topography and modes of imagining specific to Aotearoa/New Zealand; and Butler’s deployment of a Neoplatonist empiricism more broadly, the paper plays out the significance of what is nominated as chiastic desire (following insights by Ralf Norrman, 1986)—a criss-cross patterning that draws surface configurations (landscape picturing, textual place descriptions, topographical delineation, perceptual routines) into deeper questions of grounding, imagination, and the drawing of place sensibility out of the imperceptible.","PeriodicalId":403565,"journal":{"name":"Interstices: journal of architecture and related arts","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121068880","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":"Mike Davis’ Lang Doors: a commentary in terms of time, material and practice","authors":"E. Mecredy","doi":"10.24135/ijara.v0i0.14","DOIUrl":"https://doi.org/10.24135/ijara.v0i0.14","url":null,"abstract":"","PeriodicalId":403565,"journal":{"name":"Interstices: journal of architecture and related arts","volume":"16 6","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121004782","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 and arresting: surface and pattern in a contemporary traditional Pacific building","authors":"Tina Engels Schwarzpaul","doi":"10.24135/ijara.v0i0.7","DOIUrl":"https://doi.org/10.24135/ijara.v0i0.7","url":null,"abstract":"In classical Pacific buildings, figures or textures like lalava (lashings) performed iconic and technical functions simultaneously. What happens when the latter are assigned to different methods? The Fale Pasifika at the University of Auckland (opened in 2004) shows that the figures’ binding features outlast their technical necessity. The building attracts a diverse audience — perhaps because in the right constellations it binds together ancestral knowledge and present practices, despite many concessions to alien regulations and rules of production. However, its Pacific atmosphere also attracts non-Pacific people. What conditions enable arresting patterns on refined surfaces “to symbolise and effect relations of mana” (Tomlinson & Tengan, 2015: 17) and to channel affective force — even beyond the initiated? How can the notion of iconic power (Alexander, Bartmanski & Giesen, 2012) be a valuable strategic resource and an ordering principle by which to juxtapose contradictory perspectives? How does iconic power relate to Indigenous Pacific concepts? Integrating aspects of materiality, performativity, atmospheres and non-human agency in the Fale Pasifika with more traditional, structuralist insights generates crossovers between architecture and anthropology. In Western culture, patterns are commonly considered as flat as the surface that carries them. Tongan tufuga lalava Filipe Tohi disputes this when he asserts that lalava is “deeper than just the lashing”, more connected to a changing world and cosmos—in—motion than given credit. Patterns extend, indeed, into cosmological, social, technological and subjective realms. In a debate concerning the respective authenticity of flat and carved column surfaces in fale Samoa, a classical perspective would suggest that surface and pattern cannot inhabit the same plane. Yet, some Samoan tufuga fau fale (master builders) used carving to produce strange animations, stirring surfaces and patterns that “generate relationships over time between persons and things” (Gell, 1998: 80). Such relationships between arresting figures, ensnaring ground and viewers are founded on the experience of a “mimetic passing over into the object” (Rampley, 1997: 45). When the appearance of things is seen as part of their materiality, images and things converge and act (Payne, 2014: 317, 310), dissolving the boundaries of a subject and her world. Patterns, then, can arrest and entrap a viewer (Gell, 1998: 82).","PeriodicalId":403565,"journal":{"name":"Interstices: journal of architecture and related arts","volume":"64 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126721343","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 colour and pattern: Ruskin’s ambivalent theory of constructional polychromy","authors":"A. Chatterjee","doi":"10.24135/IJARA.V0I0.4","DOIUrl":"https://doi.org/10.24135/IJARA.V0I0.4","url":null,"abstract":"John Ruskin offered an alternative paradigm to the debates on constructional polychromy in Victorian Britain. The paper considers the larger context of the debate and Ruskin’s place within it, which is that he favoured the decorative use of innate colour of materials to achieve concealment of the building’s structure. However, even then Ruskin’s theory of polychromy, especially his attitudes to colour and pattern, remains far from obvious. The paper offers an original insight into this, as it explores Ruskin’s approach to architecture and colour through the lenses of gender, body, soul and dress, presenting his triadic theory of architecture that asserted: a) architecture is a combination of painting and sculpture; b) it is feminine; and c) it analogous to a dressed body. The paper then deploys this understanding to revisit the ambivalence between colour as pattern, and colour as effect, and to argue that for Ruskin the visual field is characterized essentially by simultaneity and vacillation, not singularity and stability. It is argued that Ruskin’s writings complexified as well as undermined polarities prevalent in the dominant paradigms of polychromy, as his writings refused to resolve the difference between pattern and effect, to the same extent that they also refused to the settle the difference between sculpture and painting; canvas and textile; and flatness and texture.","PeriodicalId":403565,"journal":{"name":"Interstices: journal of architecture and related arts","volume":"31 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130030451","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":"The Baroque in Architectural Culture 1880–1980. Edited by Andrew Leach, John Macarthur and Maarten Delbeke.","authors":"J. Smitheram","doi":"10.24135/ijara.v0i0.17","DOIUrl":"https://doi.org/10.24135/ijara.v0i0.17","url":null,"abstract":"","PeriodicalId":403565,"journal":{"name":"Interstices: journal of architecture and related arts","volume":"113 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124042912","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":"Atmospheric Architectures: The Aesthetics of Felt Spaces. Gernot Böhme. Edited/translated by A-C. Engels-Schwarzpaul","authors":"J. Hale","doi":"10.24135/IJARA.V0I0.18","DOIUrl":"https://doi.org/10.24135/IJARA.V0I0.18","url":null,"abstract":"","PeriodicalId":403565,"journal":{"name":"Interstices: journal of architecture and related arts","volume":"122 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122890788","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}