Interstices 2018: Auckland School Centenary Special Issue
From Beaux-Arts to BTM
Edited by Julia Gatley
Purchase from enigma : he aupiki
Published: 21st September 2018
Pattern / Surface: a pursuit of material narratives
Purchase from enigma : he aupiki
Symposium: 2 - 4 June 2017
Published: 22 December 2017
Return to Origins
Edited by Andrew Douglas, Susan Hedges and Ross Jenner
Published: 25 December 2016
The Urban Thing
Edited by Andrew Douglas and Hannah Hopewell
Symposium: April 2015
Published: December 2015
Atmospheres and Affect
Edited by A.-Chr. Engels-Schwarzpaul, Ross Jenner and Andrew Douglas
Interstices 14Immaterial Materialities
Edited by Sandra Karina Löschke and Desley Luscombe
The collection of essays and visual essays in this issue explore materiality in relation to ideas about interactivity and how these have manifested themselves in art and architecture. Interstices 14 builds upon ideas and issues identified by a host of international guests at the Interstices Under Construction Symposium held at the Australian Institute of Architects in Sydney in November 2012. It endeavours to untangle tropes such as digital materiality, material agency and immateriality across an interdisciplinary field comprising architectural history, art history, curatorial studies, and art and architectural practice.
Interstices 13Interstices 13
Technics, Memory and the Architecture of History
Edited by Stephen Loo and Andrew Douglas
The collection of writings in this issue explores memory in relation to architectural history. History is not an inert past, and memory, as access to that past, is not purely an internal condition. Internal ‘mental images’ of memory are inseparable from the external ‘image-objects’ of history that are constructed in architecture, film, photography, art and the media. The divide between the inside and the outside of memory is constantly under negotiation, in which this issue take part. Interstices 13 derives from the first Interstices Under Construction Symposium held outside New Zealand, at The University of Tasmania’s School of Architecture & Design in November 2011.
Unsettled Containers: Aspects of Interiority
Edited by A.-Chr. Engels-Schwarzpaul and Andrew Douglas
Interstices12 derives from a symposium held at The University of Auckland’s School of Architecture and Planning in honour of Distinguished Visitor David Leatherbarrow in October 2010. Impelling this edition is the sense of an undervaluation – critically, aesthetically, professionally – of interiority. Cursorily put, interiority is routinely the casualty of a quarantining edict that has insistently settled it ‘inside’. The essays, drawings and reviews in “Unsettled Containers: Aspects of Interiority” seek to unsettle this closeting effect and consider interiority beyond the prevailing object-cult in design and architecture and a general neglect of the interior. Against an incessant inside/outside partition (of workplaces and dwellings, public and private domains), they explore inside-outside reversals, public-private conflations, vitalising contact-intimacies and alliances that pitch up against a backdrop of stalely replicated public non-places and often banal, architectonic formalism.
The Traction of Drawing
Edited by Laurence Simmons and Andrew Barrie
“The Traction of Drawing” queries whether, with the proliferation and maturation of digital technologies, drawing is now really “done and dusted”. The collection of essays, drawings and reviews in this issue explores different technologies of drawings and suggests that drawing still works. However, a shift to a post-digital condition is required where, by critically re-evaluating and renegotiating the roles of various instruments and techniques, the ‘craft’ of drawing applies across all drawing practices, analogue and digital. The gap that seems to divide these approaches is artificial, and drawing maintains its central role in architectural thinking and making.
Adam's House in the Pacific
Edited by Ross Jenner, Mark Jackson and A.-Chr. Engels-Schwarzpaul
The tenth issue of Interstices derives largely from a symposium in honour of Joseph Rykwert held at the University of Auckland in November 2008, on the occasion of his stay as Distinguished Visitor to the School of Architecture and Planning. The primitive hut seemingly provides a base for a natural perception uncluttered by cultural baggage, where only innate ideas and external necessities prevail in the pursuit of ever purer tectonics and returns to origins. Addressing the assumptions underlying such ideas, this issue raises questions about the need for architecture in the ‘paradisiacal’ contexts of the Pacific; architecture’s relationship with nature and the scene of Paradise; questions of origins and notions of the primitive in domestic, public and commercial contemporary architecture; the connections between these buildings and those original to the Pacific; and the significance of Rykwert’s work today, in relation to discourses of appropriation and deconstruction.
Edited by Julia Gatley and Carl Douglas
“Expat: Places/Spaces/Baggage” covers issues of migrancy and expatriatism in architectural history, practice and daily life.
Edited by A.-Chr. Engels-Schwarzpaul, Julia Gatley and Ross Jenner
“Disagreement” addresses the politics of aesthetics. Several contributions respond directly to the writings of French Philosopher, Jacques Rancière.
Edited by A.-Chr. Engels-Schwarzpaul and Lucy Holmes
Gen-ius/Gen-ealogy, explores genius and genealogy as common threads within architecture and art. It also features the first English translation, by Laurence Simmons, of Giorgio Agamben’s 2004 essay “Genius”, a text that provided many contributors with a common platform for their reflections on genius and genealogy.
Edited by A.-Chr. Engels-Schwarzpaul, Ross Jenner and Albert L. Refiti
“Faciality” explores the connection of notions of the face with facades, fronts, holey walls and materiality. It asks in how far architectural modernity might be regarded as an intensification of the black hole/white wall system, and how far a dismantling. Does the removal of the face from the façade make a building more or less like an object? Are contemporary attempts at animating the building within a flow of forces and movements to be seen as a final overcoming of faciality?
The Spaces Between