Guidelines for Submissions
All submissions should engage in, and contribute to, a wider critical context, as well as clearly position the work within the current field of knowledge in architecture, art, design and other related fields. They need to be pertinent to the theme of the issue, demonstrate a critical engagement with current debates and an understanding of the body of knowledge underpinning them, have an appropriate structure, and be accessible to the readers of Interstices.
We strongly encourage contributors to seek comments from colleagues before submitting a paper for publication. Authors are welcome to consult with the editors about the suitability of a submission. This preliminary consultation, though, does not guarantee publication.
Interstices: Journal of Architecture and Related Arts takes a non-exclusive copyright in the papers submitted and accepted, i.e., we reserve the right to publish and republish the paper (for instance, electronically). Authors are welcome to upload their papers in published form into their institution’s research repository. They retain the right to republish their papers elsewhere, provided that they acknowledge original publication in Interstices.
Authors are responsible for obtaining permission to publish images or illustrations with their papers in Interstices; neither editors nor publishers of Interstices accept responsibility for any author’s/authors’ failure to do so.
All submissions must be accompanied by a short abstract (100-150 words) and a biographical note (80-100 words) on a separate page. The inclusion of a contact email address in the bionote is optional.
Please submit manuscripts in the form in which you wish them to appear. The Interstices formatting principally follows APA6th formatting. Detailed formatting instructions and examples are available below. Only contributions formatted according to these guidelines will be accepted for publication.
Refereed written papers should not exceed 5000 words (including title, main text and endnotes). Non-refereed full papers should not exceed 2500 and reviews should not exceed 1000 words. Longer papers are only accepted in special circumstances.
Visual submissions should make evident their mode of fabrication, and its exploration and questioning, both in the visual and textual parts of the submission, and their relationship with sites and empirical or conceptual contexts must be articulated and made explicit. The work needs to demonstrate innovation or creative excellence. It must articulate, in both graphic and textual form, the theoretical underpinnings, design process and reflective evaluation of the outcome. Images need to be supplied as high-quality jpg files, at approximately 150% of the anticipated size. The accompanying text (approx. 500 words) needs to carefully describe media and processes used and succinctly explain context and intention. It needs to reference precedents which attempted the same or in any other way impacted on the conception of the work submitted. This part should be footnoted using (an adaptation of) the APA Style. Refereed visual contributions will be allocated approximately 10 A4 pages, non-refereed contributions approximately six pages.
Moving Image Submissions should be submitted in a high quality digital format. Material submitted must be free of copyright restrictions and the submitter will be held responsible for making sure that none of the material (including material on soundtracks, even if assumed it will not be played) legally belongs to another person. For any material for which the submitter does not own the copyright we require appropriate permission agreements at the time of submission, before the piece is sent out for peer review. In submitting a moving image work, you agree to Interstices sharing it via the Interstices web site. All moving image work should ideally be 3-4 minutes in duration with an absolute maximum length of 5 minutes, frame size and rate should be 1920 x 1080 with 25 fps and all moving image works need to be encoded with H.264 codec and submitted as an .mp4
Creative Postgraduate Research Projects should be supplied in a form that explicates and articulates the depth and significance of a particular design research undertaking. Projects need to demonstrate innovation or creative excellence, be complete and unpublished at the time of submission, and will be selected according to a blind refereed process by an invited panel. They should also include a 1500 word synopsis coauthored by the student researcher (primary author) and the supervisor(s) (secondary author/s). The synopsis should present a scholarly and critically broad argument for the project, making evident the questions and responses motivating the design research, and lay out its relationship with sites and empirical or conceptual contexts. APA Style referencing is required. Images are to be supplied as high-quality jpg files, at approximately 150% of the anticipated size. Up to six indicative views of the project may be supplied. Moving image, animated sequences, or audio components of the work should not exceed 4 minutes duration. The relevance of the project to any particular journal theme will also be considered in its selection.
Interstices is published digitally and this should be taken into account when selecting images for reproduction. In all cases, the relationship between text and visual work needs to be carefully considered and articulated.
To facilitate blind reviewing, no references to the author/s, the institution, department, or firm, or any other form of identification may be included in the paper, visual submission or creative research project itself. Papers and projects that include identification will not be reviewed. Author name and details must be supplied in the email itself (name of paper, contact details in full, and word length of paper) and text files must be in Microsoft Word format.
All submissions are reviewed first by a selection committee. If considered suitable, they are then sent, in the case of papers and visual submissions, to two referees (blind reviewers), or in the case of creative design research projects, to an invited selection panel. In the case of a creative research project that sits outside the expertise of the review panel, a selected expert in the area will be appointed to review the project. In all cases a referee report will be returned with advice regarding suitability for publication, editing, reworking or development of the paper. The recommendations will be summarised by the issue editors and forwarded to the authors, with the expectation that the referees’ comments will be addressed before the submission is edited for publication. Should the reports diverge, the issue editors may direct the author. Conversely, if authors are in doubt about a report’s implications, they are most welcome to seek clarification with the issue editors.
When a paper is accepted for publication, the author(s) will be asked to forward it electronically with the following file name: Interstices (issue number)_author name_final.doc. The editors reserve the right to make amendments, alterations or deletions to papers without consulting the author(s) so long as such changes do not affect the substance of the article. Usually, however, the authors will be consulted about changes.
Manuscripts should formatted as A4, with 2.5cm margins. Use standard fonts such as Times or Arial and format the text in 10pt. Please use only one empty space between sentences and do not use more than one consecutive tab for formatting. All titles and subtitles must be in Title Case (lower case, with Caps. for first word). Language format is to be in NZ or UK English.
With a few exceptions, Interstices follows APA conventions as stipulated in the Publication Manual of the American Psychological Association (6th edition, 2010). For reference see http://www.apastyle.org. Unlike APA, however, in-text citations should be formatted as follows: (Author year: page number/s), e.g., (Rykwert 2000: 78-9). See further details below.
Layout tables on a separate page, with as few lines as possible, and indicate the placing of the table in the text with a note [Insert Table 1 here]. Tables should be numbered in Arabic numerals with a clear identifying legend.
Use endnotes, not footnotes, in all manuscripts.
Graphics or images must be provided as separate colour or greyscale, JPG files in publishable quality. Please indicate their placement in the text – in square brackets: [Insert “filename.jpg” here, caption: “caption text”]. If you want to insert images into your original file, please ensure that you reduce their size to keep the file size small.
Captions must be formatted as follows: Fig. # Author-firstname Author-surname (year). Title [type, location, and copyrightholde] e.g.,
Fig. 1 Anonymous (1955 ). Margaret Barr’s ballet “Strange children” [Photograph, State Library of NSW]
Fig. 2 Hieronymos Bosch (ca. 1490 to 1510). The garden of earthly delights [Detail, Museo del Prado]
Fig. 3 Vittorio de Sica (1948). Bicycle thieves [Film still, Excelsa Film]
Fig. 4 Office Santiago Calatrava (2004). Zurich Law Faculty Library, levels 0 and 6 [Section and plans. Courtesy: Corbin-Hillman Communications, NY]
Fig. 5 Interstice between library and pre-existing courtyard [Photo: Author, 2011]
Fig. 6 Sir John Everett Millais (1186). Bubbles [Photo: Bob Swain, picasaweb]
Quotations: Use double quote marks around a quoted word, phrase, or sentence, and single quotation marks for quotes within quotes, as follows:
Heidegger would make this point very clear in later two essays, in which he introduces the “primal oneness” of the fourfold where “to be ‘on earth’ already means ‘under the sky’” as a counter to a world in a process of planetary dissolution, in which “everything is washed together into the uniform distancelessness” (1954: 149), and “airplanes and radio sets are … among the things closest to us” (1975: 21).
If the quotation is longer than 40 words, it must be indented, without quotation marks. Quoted words inside the body of the 40 words are indicated in single quotation marks. e.g.
The axonometric drawings of Sartoris can be considered … the locus of a cognitive transcendence: in the finished perfection of the design, where geometry discloses its suprahistorical authority, the architect-theologian catches the ‘philosophical and poetic matrix’ of the new architecture in the mirror of the ‘dreamt image’, and anticipating the ends by the mastery of the means, prefigures a reality to come … (Reichlin 1978: 91)
Note that if a word or group of words is omitted from the quotation then three stops are used with a space before and after; full stops and commas are not included in the quotation marks except if the sentence is included in full (see above).
References: Insert a sub-heading References on a new page. References should be formatted as hanging indent style. Do not use tabs. Set up “hanging indent” by selecting “Paragraph” in “Format” menu in Word. Be sure to reference every author and text cited in the body of the paper. Papers with incomplete references will not be accepted. Authors are encouraged to use Endnote software (Version 9 or higher).
Leatherbarrow, D. (2009). Architecture oriented otherwise. New York, NY: Princeton Architectural Press.
Alberti, L. B. (1988). On the art of building in ten books (J. Rykwert, N. Leich, R. Tavernor, Trans.). Cambridge, MA.: The MIT Press.
Jolly, M., Tcherkézoff, S., & Tryon, D. (Eds.). (2009). Oceanic encounters: Exchange, desire, violence. Canberra, Australia: Australian National University E Press.
Ministry of Education, Te Tahuhu o te Matauranga (2000). The Arts in the New Zealand Curriculum. Wellington, New Zealand: Learning Media.
Chapter in Book:
Jenner, R. (2011). Peripheral vision – Interstices: Journal of Architecture and Related Arts. In K. Wooler (Ed.), 20/20 – Editorial takes on architectural discourse (pp. 253-262). London, England: Architectural Association Publications.
Conference paper (proceedings):
Thomassen, A., & Bradford, M. (2009). Beyond the Individual: The Complex Interplay of Creativity, Synthesis and Rigor in Design Led Research Processes. In Proceedings of IASDR Conference 2009.
Article in Journal:
Couture, J.-P. (2009). Spacing emancipation? Or how spherology can be seen as a therapy for modernity. Environment and Planning D: Society and Space, 27, 157-163.
Jackson, M. (2001). Radical gestures (Unpublished Paper). Auckland, New Zealand: AUT University
Hattersley, R. (2002, Friday August 30). The silly season. Guardian, p. 18.
Yates, A. (2009). Oceanic grounds, architecture, the evental and the in-between (Unpublished Thesis for the Degree of Master in Design). Massey University, Wellington, New Zealand.
Jackson, M., & della Dora, V. (2009). “Dreams so big only the sea can hold them”: Man-made islands as anxious spaces, cultural icons, and travelling visions. Environment and Planning A (advance online publication). doi:10.1068/a41237.
NOT BORED! (2007). Detournements in Guy Debord’s The Society of the Spectacle. Retrieved from http://www.notbored.org/SOTS-detournements.html
Frascari, M. (2000). A light, six-sided, paradoxical fight. Nexus Network Journal, 4(2 Spring). Retrieved from http://www.nexusjournal.com/Frascari_v4n2.html
For further examples, please consult http://www.apastyle.org/