Issue 04
01/07/2020
01/07/2020
CLOSED
Symposium:
Re-appropriation and Representation are critical design practices. Underlining the dynamism of design’s process of inquiry, re-appropriation engages with the present by adopting a mediating role between the past and future. Codes from the past and imaginaries of the future are re-appropriated through operations such as re-drawing, re-making, re-writing, re-imagining, re-imaging and re-situating; things are re-presented, given presence again, a new world disclosed by an architectural project.
Through this issue of Drawing On, which builds on an associated research-by-design symposium, we are interested in work that moves towards the reinvigoration of design as a dynamic field of play in time.In this field of play, we are looking to elaborate the notion of architecture as a practice capable of questioning established subject-object positions, intrinsically concerned with multiple interpretive potentials.
In this instance, we invite submissions of completed papers and associated design material, not abstracts. For more details, see the Call for Submissions.
Re-appropriation and Representation
Re-appropriation and Representation are critical design practices. Underlining the dynamism of design’s process of inquiry, re-appropriation engages with the present by adopting a mediating role between the past and future. Codes from the past and imaginaries of the future are re-appropriated through operations such as re-drawing, re-making, re-writing, re-imagining, re-imaging and re-situating; things are re-presented, given presence again, a new world disclosed by an architectural project.
Through this issue of Drawing On, which builds on an associated research-by-design symposium, we are interested in work that moves towards the reinvigoration of design as a dynamic field of play in time.In this field of play, we are looking to elaborate the notion of architecture as a practice capable of questioning established subject-object positions, intrinsically concerned with multiple interpretive potentials.
In this instance, we invite submissions of completed papers and associated design material, not abstracts. For more details, see the Call for Submissions.
Issue 02
01/09/2016
01/09/2016
CLOSED
Call for Submissions:
Through a simultaneity of immersion and separation, Surface and Installation create multiple worlds in the same space. They make worlds of their own physical parameters; they remake parts of the world within which they sit, and hence it might be said that they can also at least point towards a remaking of the world beyond. Surfaces and installations are capable of impressing upon one space another spatiality and temporality. They make situations both in their own right and also as referents to the situation of the world. They transpose one situation into another. Surfaces and installations intensify the here and there.
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Pavilion for Vodka Ceremonies. ArtKlyazma Art Festival, 2003. Courtesy of Alexander Brodksy
Concerned with architectural research-by-design methodologies, how we surface and install and how we record surfacing and installing are as significant to our research practices as the product of such actions. The recording of situations, within and without the space and time of surfaces and installations, is key to extending critical enquiry into critical methodology. There is, therefore, an intrinsic question of ‘drawing’ associated with both surfaces and installations, drawing not necessarily in the conventional sense but a drawing out – both in advance and in retrospect – of our relationship with the world.
We suggest an installation can be understood as a drawing where 1:1 spatial and temporal parameters move beyond that of a Euclidean surface. However, we also suggest that through drawings – the drawing surface as surrogate for the surface or slice of the earth – we might mediate the spatiality and temporality of surfaces as installations. Hence, the drawing surface is similarly charged with a here and there. It is both surface and substrate. It is an image-surface: an image as a drawing of situations. Drawing surfaces record relationships within and beyond their own limit: upon, beneath or above their own surfaces, between situations. Therefore, drawing on surfaces and installations, we open questions of how to draw out the worlds of and between here and there.
This is one call on two distinct but interrelated themes. Working towards Issue 02 of Drawing On, we invite you to contribute on either or both themes of Surface and Installation. We are particularly interested in contributions that explore ‘surfacing’ and ‘installing’ through design-led research practices and as acts that draw out the situation of the world, multiple worlds, critical views of the world. Depending upon submissions, the editorial team may make a multiple thematically organized edition. The submissions can be documented and recorded in various forms and formats; text need not be the principal means of presenting the work. Click to download the original Call for Submissions.
Surface and Installation
Through a simultaneity of immersion and separation, Surface and Installation create multiple worlds in the same space. They make worlds of their own physical parameters; they remake parts of the world within which they sit, and hence it might be said that they can also at least point towards a remaking of the world beyond. Surfaces and installations are capable of impressing upon one space another spatiality and temporality. They make situations both in their own right and also as referents to the situation of the world. They transpose one situation into another. Surfaces and installations intensify the here and there.
Pavilion for Vodka Ceremonies. ArtKlyazma Art Festival, 2003. Courtesy of Alexander Brodksy
Concerned with architectural research-by-design methodologies, how we surface and install and how we record surfacing and installing are as significant to our research practices as the product of such actions. The recording of situations, within and without the space and time of surfaces and installations, is key to extending critical enquiry into critical methodology. There is, therefore, an intrinsic question of ‘drawing’ associated with both surfaces and installations, drawing not necessarily in the conventional sense but a drawing out – both in advance and in retrospect – of our relationship with the world.
We suggest an installation can be understood as a drawing where 1:1 spatial and temporal parameters move beyond that of a Euclidean surface. However, we also suggest that through drawings – the drawing surface as surrogate for the surface or slice of the earth – we might mediate the spatiality and temporality of surfaces as installations. Hence, the drawing surface is similarly charged with a here and there. It is both surface and substrate. It is an image-surface: an image as a drawing of situations. Drawing surfaces record relationships within and beyond their own limit: upon, beneath or above their own surfaces, between situations. Therefore, drawing on surfaces and installations, we open questions of how to draw out the worlds of and between here and there.
This is one call on two distinct but interrelated themes. Working towards Issue 02 of Drawing On, we invite you to contribute on either or both themes of Surface and Installation. We are particularly interested in contributions that explore ‘surfacing’ and ‘installing’ through design-led research practices and as acts that draw out the situation of the world, multiple worlds, critical views of the world. Depending upon submissions, the editorial team may make a multiple thematically organized edition. The submissions can be documented and recorded in various forms and formats; text need not be the principal means of presenting the work. Click to download the original Call for Submissions.
Issue 01
01/06/2013
01/06/2013
CLOSED
Symoposium:
Borrowing the words of the Edinburgh poet Norman MacCaig’s Presents, we wonder whether design extends research to where the lines of enquiry and poesis (poetry) merge. Following on from a design symposium, Plenitude and Emptiness, held in Edinburgh in 2013, Drawing On: Presents is an opportunity both to ‘give presents’ and to ‘unwrap them carefully’.
By considering both the plenitude and emptiness of architectural production we are looking to elaborate design as a mode of enquiry. Design is plentiful in its modes and procedures, its practices and techniques; through an abundance of means of making, drawing, writing, imagining, imaging, positioning, and critiquing, design produces a plenty. At the same time, its methodologies encounter gaps or unknowns. Through design these gaps are negotiated, partially filled and even enlarged. Design produces both something and nothing.
In the midst of architectural design research we encounter both plenitude and emptiness. The symposium aims to discuss relations frequently encountered in design-led research, for example between method and content, theory and knowledge, and design and research. These relations might be framed around the following key terms: situation, narrative, politics and subjectivity, in order to consider how design-led research specifically and critically develops a situation, how design-led research engages with rhetoric and narrative, How it participates in (emergent) politics, or how design-led research and the object of architecture critically develop the discourse on subjectivity?
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The symposium was organised by Konstantinos Avramidis, Chris French, Piotr Lesniak and Maria Mitsoula, the editors of Drawing On: Presents and members of the PhD Architecture (by Design) community at the University of Edinburgh, under the guidance of Dr Dorian Wiszniewski, Programme Director of the PhD Architecture (by Design) programme. Further details and documentation of the event can be found at http://bydesignsymposium.blogspot.co.uk; click to download the original Call for Submissions.
Plenitude and Emptiness
Borrowing the words of the Edinburgh poet Norman MacCaig’s Presents, we wonder whether design extends research to where the lines of enquiry and poesis (poetry) merge. Following on from a design symposium, Plenitude and Emptiness, held in Edinburgh in 2013, Drawing On: Presents is an opportunity both to ‘give presents’ and to ‘unwrap them carefully’.
By considering both the plenitude and emptiness of architectural production we are looking to elaborate design as a mode of enquiry. Design is plentiful in its modes and procedures, its practices and techniques; through an abundance of means of making, drawing, writing, imagining, imaging, positioning, and critiquing, design produces a plenty. At the same time, its methodologies encounter gaps or unknowns. Through design these gaps are negotiated, partially filled and even enlarged. Design produces both something and nothing.
In the midst of architectural design research we encounter both plenitude and emptiness. The symposium aims to discuss relations frequently encountered in design-led research, for example between method and content, theory and knowledge, and design and research. These relations might be framed around the following key terms: situation, narrative, politics and subjectivity, in order to consider how design-led research specifically and critically develops a situation, how design-led research engages with rhetoric and narrative, How it participates in (emergent) politics, or how design-led research and the object of architecture critically develop the discourse on subjectivity?
The symposium was organised by Konstantinos Avramidis, Chris French, Piotr Lesniak and Maria Mitsoula, the editors of Drawing On: Presents and members of the PhD Architecture (by Design) community at the University of Edinburgh, under the guidance of Dr Dorian Wiszniewski, Programme Director of the PhD Architecture (by Design) programme. Further details and documentation of the event can be found at http://bydesignsymposium.blogspot.co.uk; click to download the original Call for Submissions.
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