Journal: The Latest Architecture and News

The International Committee of Architectural Critics CICA is pleased to announce an invitation to publishers, editors, curators and authors to submit their publications for consideration for the 10th CICA Awards 2020 by 30th November 2019. Award winners will be announced during the UIA XXVII World Congress of Architecture to be held in Rio de Janeiro from July 19th to 23rd, 2020.

The Awards fall into four categories:

“Bruno Zevi CICA Book Award”
For published books on architectural criticism, theory and history
“Pierre Vago CICA Journalism Award”
For an article

Although the field of architecture likes to think it is cutting-edge, adamantly liberal, and on the forefront of history, we still look towards the compulsive tendencies of the glorified visionary, their revolutionary thoughts, illuminating process, and iconic vision. 

[TRANS-] topia
across, beyond, through :: critique, fantasy, technology

In today’s chaotic world, simplicity grows virtuous. As an operational directive, simplicity forces the pursuit of the essential, where what matters is retained and what doesn’t is tossed overboard. Simplicity is at once classic and trending; ambitious and naive; utopian and pragmatic. A decade after 2008, the feeling is baked into current trends of austerity, with economic realities influencing aesthetics and ethics within architecture in deep ways. The value of simplicity lies not just in the luxury of a representational project, but more powerfully in methods of practice—in understandings of how architects make decisions in realizing their work. Simplicity in

In the spirit of Virgil Abloh we put quotation marks around the word "vernacular." Then we replace the word with a blank and ask you to fill it in. What do they build with where you're from? What do indigenous houses look like? What methods do they prefer and who actually uses them? This issue of Paprika!, a weekly journal at the Yale School of Architecture, will probe the architectural vernacular, a concept increasingly in vogue but equally undefined.

We invite all essays and comments that reevaluate the “vernacular" in contemporary design, encouraging specific examples where possible. We also invite

VOLUME 39: FOUNDATIONS & DISRUPTIONS

Technology is the answer—but what was the question?

—Cedric Price

Just 20 years ago, Nicholas Negroponte, the founder of the MIT Media Lab, anticipated that the post-information age would remove the limitations of geography. Digital living, he said, would allow transmission of place itself. (1) This prediction that technology would destroy distance and that our physicality would lose relevance did not hold true; rather, it expanded the meaning of physical space by making it more complex and inseparable from its digital dimension. (2)

The translation of the built environment into digital information—through robotics, big data, and smart

Many of the physical spaces that architects, landscape architects, urbanists, and engineers design are inherently locales of joint access and participation. Such long-existing typologies of sharing include plazas, living rooms, libraries, waiting areas, museums, and cohousing schemes. The built environment serves as the platform within which myriad sociological, cultural, and technological forces share legal parameters and broader audiences. Today, digitally-based platforms, supported by vast physical infrastructures, facilitate new types of exchange. Such platforms bring about liberating possibilities to actualize transnational networks that coalesce around food, shelter, transportation, and talent. Yet, for every emancipatory path an equally restrictive one exists. Digitally-mediated sharing can serve as a mask for diffuse forms of financialization and extraction in spatial domains that traditionally conducted their day-to-day operations outside of the flows of global capital.

It is often thought that architecture has a quality permanence. In the third issue of [TRANS-] journal we seek to understand that this is not always true. Exploring how the construction of spaces can speak to impermanence, transient design could be a variety of things: built one day and disassembled another; rootless, wandering, and drifting as a nomad among environmental and geopolitical conditions; or spaces that house impermanent populations or respond to temporary phenomena or needs. With transient space comes participants that condition its purpose and interpretation. Perhaps of equal importance is not the design itself but rather the symbolic significance of its remnants, which has the capacity to endure or pass.

ABOUT :: [TRANS-] is a critically-reviewed academic journal published in print and online, inviting expressions of interest for submitting works of design, writing, or multi-media on the topic of design process and design communication for Vol. No. 2 to be published in May 2016.

TOPIC ::
In the second volume, [TRANS-] will explore the topic of [TRANS-]lation.
In a largely results-based society, how do designers evaluate process? How can a more thorough assessment of the translation that occurs during creative activities make us better communicators and collaborators with end users, consultants, clients, and all others we affect through design?

ELIGIBILITY ::
[TRANS-] accepts submissions from

Euclid understood lines as ‘breadthless lengths,’ defined by two points and stretching on into infinity. But delineations can also be as small and simple as a flick of the wrist; the mind moving out of the hand into a gesture. Vassily Kandinsky believed lines to be ‘created by movement – specifically through the destruction of the intense self-contained repose of the point.’ Process is suggested; moments emerge from the continuity to form a rhythm. When the abstract becomes physical, delineations unite and exclude. Sociologist T.K. Oommen sees ‘the very story of human civilization’ in shifting and overlapping boundaries of all kinds. Whether blurred or accentuated, instantaneous or permanent, representational or manifest, intentional or happenstance, DELINEATIONS in the landscape are consequential. They have a story to tell.