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THE BRIEF

“To cut ambiguity short: there never was exterior influence upon my work, either foreign or native…My work is original not only in fact but in spiritual fibre.”

Originality, contrary to Frank Lloyd Wright’s beliefs, is a word that is rarely associated with (post)modern architectural critique. The process of sampling is so intrinsically linked to the process of design, running parallel all the way to fruition, that a lack of reference can often lead to the end-result lacking foundation or body. At the very least, an understanding of existing bodies of work is essential to every intellectual endeavour.

The architectural sample is not regulated; a form of bibliography, and subsequent inoculation, usually comes in the form of a name-drop in a biography, a reference image in an article or a distant memory in an interview. The self-referential architect who marks their territory on a ‘style’ or ‘movement’ is, sooner or later, apocryphally exposed to be hiding in the shadows of several art, design or literary personalities. Architectural appropriation is becoming faster, easier and more conspicuous, thanks to the advancing platforms in which we source information. Is the idea of plagiarism and patents in architecture an outdated model? To what extent can we claim creative ownership over our work?

Through the phase of design conception, is the role of an architect merely a translator; reappropriating and redefining existing bodies of work? Bruce Goff: “There is no beginning, for no one knows, even its creator, the many sources that nourished it, and no one can know its ultimate effect, so it has no ending.”

Through the lens of sampling, appropriation and authorship, what is the role of the architect? Does originality have a place in architecture? Is there anything wrong with the carelessness and rate that references shape architecture? To what extent do architects own their work?

Send us an email at submissions@caliperjournal.com to express interest before the 10th of July, 2018. The final submissions will be due early-August.

 

FORMAT

There are FOUR formats in which you can submit work;

S

1 x image OR

1 x 50 words or less i.e. a thought, a render, a collage

M

1-2 x images OR

1 x 100-200 words i.e. a weekly studio esquisse, longer thought, short series of images

L

1 x 3-4 images & 200-500 words OR

1 x 500 words

i.e. a final studio project, essay, opinion pieces, review

XL

1 x 5 or more images & 500 or more words OR

1 x 1000 words i.e. a final studio project, essay, opinion pieces, review

 

 

 

Sacha Hickinbotham is the guest editor of Issue #4.