Copyright

Interstices: Journal of Architecture and Related Arts takes non-exclusive publishing rights 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.

Submission

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 the current edition of the Chicago Manuscript of Style. 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 (excluding captions 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. Refereed visual contributions will be allocated approximately 10 A4 pages, and 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 co-authored 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. Chicago 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 initial paper submission, 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.

Refereeing process

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.

Publication

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.

Format

Manuscripts should be 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 the first letter of the first word). Language format is to be in NZ or UK English.

In 2022, Interstices changed from APA to Chicago for referencing. Please follow the examples below rather than previous issues of the journal.

Lay out 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. To the greatest extent practicable, endnotes should be limited to the relevant references rather than presenting further information or detail.

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 (usually the architect, artist or designer) (the year of the work). Title [image type, source/copyright holder] 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 [Photograph: Author, 2011]

Fig. 6 Sir John Everett Millais (1186). Bubbles [Photograph: Bob Swain, picasaweb]

Quotations:

Use double quote marks around a quoted word, phrase, or sentence, and single quotation marks for quotes within quotes

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.

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; fullstops and commas are not included in the quotation marks except if the sentence is included in full.

References: I

Please provide Chicago-formatted endnotes, without a bibliography. Include the full reference for the first use or mention of any one given text, and the short format reference for every second and subsequent use of the same text.

 Examples:

Note:

David Leatherbarrow, Architecture Oriented Otherwise (New York, NY: Princeton Architectural Press, 2009), 72.

Shortened note:

Leatherbarrow, Architecture Oriented Otherwise, 102.

Chapter in a Book:

Note:

Ian Lochhead and Paul Walker, “New Zealand and the Pacific,” in G. A. Bremner, Architecture and Urbanism in the British Empire (Oxford: Oxford Scholarship Online, 2016), DOI: 10.1093/acprof:oso/9780198713326.001.0001.

Shortened note:

Lochhead and Walker, “New Zealand and the Pacific,” 10-12.

Edited Book:

Note:

Elizabeth Grant, Kelly Greenop, Albert Refiti and Daniel Glenn (eds), The Handbook of Contemporary Indigenous Architecture (Singapore: Springer, 2018). Online at www.springer.com/gp/book/9789811069031.

Shortened Note (use et al when there are four or more authors or editors):

Grant et al, The Handbook of Contemporary Indigenous Architecture.

Chapter in an Edited Book:

Note:

Julia Gatley and Bill McKay, “Beyond Futuna: John Scott, Modern Architecture and Māori in Aotearoa New Zealand,” in The Handbook of Contemporary Indigenous Architecture, edited by Elizabeth Grant, Kelly Greenop, Albert Refiti and Daniel Glenn (Singapore: Springer, 2018), 607-35. Online at www.springer.com/gp/book/9789811069031.

Note:

Gatley and McKay, “Beyond Futuna,” 620.

Translated Book:

Note:

Leon Battista Alberti, On the Art of Building in Ten Books, trans. Joseph Rykwert, Neil Leich and Robert Tavernor (Cambridge, MA: MIT Press, 1988), 42-43.

Shortened note:

Alberti, On the Art of Building in Ten Books, 52.

Corporate Author:

Note:

Ministry of Education, Te Tahuhu o te Matauranga, The Arts in the New Zealand Curriculum (Wellington: Learning Media, 2000), 2.

Shortened Note:

Ministry of Education, The Arts in the New Zealand Curriculum, 3.

Chapter in Book:

Note:

A.-Chr. Engels-Schwarzpaul, “Non-Traditional Ways to the Doctorate: Introduction,” in A.-Chr. Engels-Schwarzpaul and Michael A. Peters, Of Other Thoughts: Non-Traditional Ways to the Doctorate: A Guidebook for Candidates and Supervisors (Rotterdam: Sense Publishers, 2013), 2-4, ProQuest Ebook Central.

Shortened Note:

Engels-Schwarzpaul, “Non-Traditional Ways to the Doctorate,” 3.

Article in Journal:

Note:

Andrew Douglas, “Plan/Ditch: Topographic Inscription in an Early Colonial Capital,” Interstices: Journal of Architecture and Related Arts, no. 16 (2015): 57-71. Online at https://doi.org/10.24135/ijara.v0i0.492.

Shortened Note:

Douglas, “Plan/Ditch,” 60.

Unpublished Paper:

Note:

Mark Jackson, “Radical Gestures,” Unpublished paper, AUT University, Auckland, 2001.

Shortened Note:

Jackson, “Radical Gestures,” 1.

Thesis:

Note:

Susan Hedges, “On Frascari’s Notion of Construal,” PhD thesis, University of Auckland, Auckland, 2012, 46-50.

Shortened Note:

Hedges, “On Frascari’s Notion of Construal,” 22.

Newspaper Article:

Note:

Roy Hattersley, “The Silly Season,” Guardian, August 30, 2002, 18.

Shortened Note:

Hattersley, “The Silly Season,” 18.

Thesis:

Note:

Susan Hedges, “On Frascari’s Notion of Construal,” PhD thesis, University of Auckland, Auckland, 2012, 46-50.

Shortened Note:

Hedges, “On Frascari’s Notion of Construal,” 22.

Letter / Email:

Note:

Letter, Jane Bloggs, New York, to Tane Sharp, Whakatāne, 17 September 1943, Sharp Family Collection, Whakatāne.

Shortened Note:

Bloggs to Sharp, 2.

Archival Document:

Note:

“The Thorndon Trust v Wellington City Council: Proposed Change Number 35 in Creating a Residential E Zone,” 10 April 1974, AADM W3485 7538 Box 51, Archives New Zealand, Wellington.

Shortened Note:

“The Thorndon Trust v Wellington City Council,” 1.

Online References:

Jade Kake, “Kōrero Tuku Iho: Wai 262 and Protecting the Knowledge of Our Tūpuna,” Pantograph Punch, 3 July 2020. Online at www.pantograph-punch.com/posts/korero-tuku-iho (accessed 4 September 2022).

NOT BORED!, “Detournements, Allusions and Quotations in Guy Debord’s The Society of the Spectacle,” 2007. Online at http://www.notbored.org/SOTS-detournements.html (accessed 4 September 2022).

For further examples, please consult Chicago Manual of Style