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Observation and analysis are types of invention. They make things apparent which perhaps were invisible. By noticing, drawing and naming something we bring it into being. On the other hand, building and making can be thought of as analytical observations, pointing out what had not been so clear before and revealing the potential for other actions yet to occur. This book is a collection of urban research and architectural projects by award-winning architects Nigel Bertram / NMBW Architecture Studio, using observation as a design tool and design as an observational method. Through this process, a position on the making of architecture and on the role of architecture within the wider urban envi...
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38 south is the document of record for urban-focused architectural research from the School of Architecture and Design at RMIT University. In this issue the publication assumes its new role of presenting research from the Urban Architecture Laboratory. The UAL was established in 2002 with the explicit aim of providing a specialised research environment for intensive and focussed architectural research that engages with contemporary urban issues. This edition of 38 south is a progress report on the activities of UAL over its first two and a half years. As such this body of work from candidates in the program provides both reflective and prospective interpretations of our evolving understanding of the role that the laboratory can play. (Ed.).
This book is a selection of essays covering aspects of the history, and contemporary understanding of the fields of art and design and their inter-percolation. Making things has always involved skill and thought. Thought is given to their creation so they are fit for purpose. Where the purpose is aesthetic or intellectual pleasure, the resulting object is often called art. There is, however, often a hierarchy placing “art” somewhere apart from “design.” But isn’t some art designed? These essays investigate aspects of this dichotomy – from both sides of the supposed divide to discuss the ground between.
"O you who linger in the garden, a lover is listening; Let me hear your voice." (Song of Songs, 8:13)
Surface in architecture has had a deeper and a more pervasive presence in the practice and theory of the discipline than is commonly supposed. Orientations to the surface emerge, collapse, and reappear, sustaining it as a legitimate theoretical and artefactual entity, despite the (twentieth-century) disciplinary definition of architecture as space, structure, and function. Even though surface is defended for its pervasiveness (Kurt Forster), its function as a theoretical motif with generative power (Andrew Benjamin), and in constituting the operative principles of modern architecture as a visual phenomenon (Mark Wigley), it occupies the interstice, or the space of the unconscious within arch...
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