2017 INTERSTICES Under Construction Symposium SURFACE / PATTERN A pursuit of material narratives. Keynote Speaker Associate Professor Spyros Papapetros School of Architecture Princeton University 2nd - 4th June 2017 Auckland New Zealand 2017 Interstices Under Construction is jointly organised by the School of Architecture and Planning, The University of Auckland and the School of Art and Design, Auckland Uni- versity of Technology (Susan Hedges, Tina Engels-Schwarzpaul and Ross Jenner) Pattern / Surface a pursuit of material narratives Surface and ornament have been ex- tensively reviewed, admonished, discarded and pursued. More recently there has been a renewed interest in the writing of Aby War- burg and Alois Riegl, while numerous stud- ies have addressed these issues relative to Semper, Adolf Loos, Hermann Muthesius, and Le Corbusier. They have been made prominent by issues of animation (see, for example, Papapetros 2012, Payne 2013, van Eck 2014) and digitation (see for example Spuybroek 2008 and Schumacher 2009). Incrustations, protuberances, textured expres- sions, smoothed surfaces, surfaces enlivened as screens, are they ornament or cladding? The 2017 Interstices Under Construction Symposium, “Surface – Pattern” pursues the tension between ornament, adornment, object enlivenment, cladding, surface and pattern, and an exploration into the strange anima- tions inherent in surface-pattern continua. The symposium is motivated by the renewed fascination with the architectural surface and the expressive effects it mobilises – effects that both eschew and uneasily dabble in the decorative. Material mediation has become a means for experimentation, a way of teasing out smooth geometries, tessellated patterns, iconic figures and textures, which may all also perform technical functions, like joining or harmoniously accommodating incremental and differential movement. If, following Paul Virilio, the built, like the social, is inseparable from a politics of speed (in which surfaces, ways, and conduits at every scale are ‘policed’ in order to arrest impediments to an acceler- ating commerce of motion and passage), we might wonder what role patterning plays today. Associate Professor Spyros Papapetros joined the faculty of Princeton’s School of Ar- chitecture in 2003 and is an art and architec- tural historian and theorist whose work focuses on the historiography of art and architecture, the intersections between architecture and the visual arts, as well as, the relationship between architecture, psychoanalysis and the history of psychological aesthetics. Papapetros is the author of On the Animation of the Inorganic: Art, Architecture, and the Extension of Life (The University of Chicago Press, 2012), the co-editor (with Julian Rose) of Retracing the Expanded Field: Encounters between Art and Architecture (The MIT Press, 2014), as well as the editor of Space as Membrane by Siegfried Ebeling (AA Publications, 2010). Friday 2 June Drinks & Launch Interstices 14: Immaterial Materialities Opening address Tina Engels Schwarzpaul / Ross Jenner / Susan Hedges Keynote address Associate Professor Spyros Papapetros “Ornament as Portable Ecology: Bodily and Architectural Adornment on a Global Scale” WG Buidling Room 126 Sir Paul Reeves Building Auckland UniversityTechnology 6.30 - 7:00 pm 7:00 - 8:00 pm 6:00 - 6:30 pm Saturday 3 June Drawing / Digital Pattern / Surface Chair: Ross Jenner Natalie Haskell: Pattern and the digital narrative: the impact of digital innovation on pattern and placemaking Carl Douglas: Superficial immersion: flat ontologies and the picture plane Yannis Zavoleas + Mark Taylor: Skin Deep 3D printed surfaces Morning tea11:00 - 11:30am Level 1, WG126, Sir Paul Reeves Building AUT University, Governor Fitzroy Place 9:30 - 11:00am Power, Agency, Surface Chair: Sue Hedges Dorita Hannah: Agonistic ornamentation: street art as resistant patterNation Farzaneh Haghighi: Architecture’s mourning skin Manfredo Manfredini, Tanyalak Chalermtip and Angelo Bueno: The “medi- ated shed” - public space and “the forgotten symbolism” of post-consumerist architecture of hyprermediated interspatial patterns. Lunch Break Colour / Texture/ No Texture Chair: Tina Engels Schwarzpaul Anuradha Chatterjee: For and against pattern: Ruskin’s ambivalent theory of constructional polychromy Johanna Abril: Resurfacing Rachel Carley: Gloss Conference Dinner 11:30 - 1:00 pm Streams 1: Level 1, WG126 Sir Paul Reeves Building AUT University, Governor Fitzroy Place Saturday 3 June Stream A 2:00 - 3:30 pm 7:00 pm Trace and Narrative Chair: Farzaneh Haghighi Nicholas Skepper: Material narrative in drawn and built surface Anthony Brand: Building character: narratives of use and inhabitation Lunch Break Local Surface Chair: Carl Douglas Susan Hedges: Micro-structures, build- ing blocks and the sculptural relief Sue Gallagher: Urbis Porta: extend- ing my self and home as animated surfaces of Salmacis and Hermaphroditus Andrew Douglas: Traversting Erewhon: territorial image & chiastic desire Conference Dinner 11:30 - 1:00 pm Streams 1: Level 6, WG608 Sir Paul Reeves Building AUT University, Governor Fitzroy Place Saturday 3 June Stream B 2:00 - 3:30 pm 7:00 pm Pacific Patterns Keynote: Tēvita Ka’ili Chair: Albert Refiti / Chair Tina Engels Schwarzpaul Nooroa Tapuni: [My] Face and the foreign body Ross Jenner: Staging the face Albert Refiti: The binding of animals and gods with encircling aether and eyes in Pacific architecture (non-refereed abstract) Morning tea Chair : Albert Refiti Tina Engels-Schwarzpaul: Binding and arresting – surface and pattern in contemporary traditional Pacific buildings Keri-Anne Wikitera: Whakairo rangatira – patterns of the chiefs Semisi Potauaine & ‘Okusi Mahina: Pattern- surface and repetition-rhythm: a tāvāist criticism (non-refereed abstract) Round up & Lunch Sunday 4 June 9:30- 10:15 am 12:40 - 1:15pm Level 1, WG126 Sir Paul Reeves Building AUT University 10:15 - 11:15 am 11:15 - 11:40am 11:40 - 1:15pm Abstracts Resurfacing Johanna Abril When someone is immersed in a contem- porary philosophy, movement, or practice, it is hard to detect whether these manifestations were previously introduced or they are present inventions. As Giorgio Agamben suggests by the example of being in fashion or the observa- tion of a star, being contemporary is to be part of a discontinuity. Being “in fashion” means being two or three seasons behind; similarly the observation of a star is actually the pro- jection of light that has traveled light years before being observed. From these examples it follows that a contemporary person is not someone who only perceives the projected light, but someone who can recognize the darkness of his own time. In accordance with Agamben’s philosophy, this paper questions whether contemporary surface treatment shows the “light” of a past theory and practice, or whether contemporary surface treatment performs the “darkness” of the present. To be contemporary as well as to identify inventions demands similar awarness of the past. The art historian George Kubler in his book The Shape of Time (2008) explains that the development of things is ruled by the change of attitude towards the process of invention, repetition and discarding. Each process participates in the advancement of a society, however invention requires es- sential ingredients. First, it requires us to be aware of a previous position, and second, it needs one to be familiar with the actual body of knowledge in order to determine a field of study. In addition, when an invention has been accepted, it produces serial proposi- tions that halt other inventions. In congru- ence with Kubler’s thought, a question is asked as to whether contemporary surface treatment is a present invention or a serial practice which begun in the modern period. Through the comparison between the A&A building (1963) by Paul Rudolf and the Edison Residence (2014) by KANVA architects in terms of drawing technique, construction tech- nology and visual-haptic effects, I observe that contemporary surface treatment constitutes the “light” of the Modern Architectural thought. In other words, when ornament was strongly disparaged in Modernity, a new invention of ornament resurfaced in architecture. This invention emerged through tectonic values and surface treatment, which has produced serial practices that persist to the current day. To support that idea, the writings of Alina Payne, Spiros Papapetros and Antoine Picon provide a theoretical framework about the development of the concept of ornament from XIX to XX century, and its current classifica- tion. Furthermore, the comparison emphasizes the conception of the building as an expres- sion that maintains relationships with theory, drawing and technology. Lastly, contempo- rary surface treatment displays potential to be interpreted not just as the result of the digital age or collective values like sustain- ability,3 but to enhance multi- sensorial perception which connects deep aspects of the human being, one of which is memory. Anthony Brand To grasp the expressive character of a building is to feel its significance, to know what its character is like, to feel the inward reso- nance of an idea or way of life […] The man who cannot so ‘enter into’ the character of a building […] will be like the man who is able coldly to attach names to the feelings which he reads in the faces of his fellows, but who has no knowledge […] To understand expression in art requires empathy. (Scruton 1979: 205) How is it that the surface of a building may express its character? And what role does empathy play in our perception of it? In the eighteenth century, character and composition were considered the two most essential aspects of successful architecture. Initially they were conceived as means through which information, such as the function of the building, the mode of construction or the status of the owner, could be expressed in the formal language of details, ornamentation, and symbolism (parlante). Another theory however, maintained that the impression we have of a building’s overall comportment is born from our more primitive and mimetic impulses, in response to the physiognomic expressions that accompany a particular emotion or affective disposition (Boffrand 2002). By the mid-nineteenth century, this perceptual faculty became known as “Ein- fühlung” or “empathy” (Vischer 1994 [1873]). These theses have been ratified more recently by research in cognitive neuroscience, which confirmed that the neurological processes mapping our actions, emotions and sensa- tions internally are also activated when we perceive similar actions, emotions and sensa- tions elsewhere (Gallese 2009: 520). This has prompted something of a return to empathy aesthetics within architecture (Mallgrave 2013; Robinson & Pallasmaa 2015). However, with the affirmation comes the risk that design- ers may take “the facile road of isomorphism, isotopy, and metaphoric representations” (Frascari 1991: 4). In addition, when these elements are simply means to an end, the narrative dimension ends with the completion of construction, and any affective potential at- rophies with time and exposure (Hale, 2014a). I present an alternative mode of ornamenta- tion here, which is created after the building is constructed through acts that leave traces: the visible patterns naturally emerging over time through the “the tectonics of use” (Hale, 2014a). This, I argue, is more aligned with the etymology of character (kharakter, a tool used for engraving and leaving a mark or impres- sion) and more meaningful to us, the inhabit- ants and users, as a means for recording the narrative history of our user-object relation- ships (Chapman, 2005). Drawing upon findings in neuroscience and embodied cognition, I explain that it is through empathetic percep- tion that these tectonics of use actively con- tribute to the character of a place, and “remind us of the potential of architectural materials to act as meaningful surfaces of inscription and communication” (Hale, 2014b: 312). Building character: narratives of use and inhabitation On Disgust and Odour Rachel Carley This paper examines a selection of glossy interiors to discern how this surface treat- ment facilitates spatial experiences that are expansive, invigorating and also troubling. It will highlight how a sheen that is integral with or applied over a substrate material can transform the space it envelopes. The paper will consider the following question: what role do glossy surface treatments play in evok- ing unsettling commercial, institutional and domestic spaces? Discussion will focus upon Dimorestudio’s glossy teal interior for the Aesop Magenta store in Milan (2016), a selec- tion of photographs from The Omega Suites (1991-1998) by Lucinda Devlin and Michael Parekowhai’s sculpture, The Lighthouse (2017). Shiny spaces return our gaze, drawing at- tention to ourselves. We become coincident with these lustrous interior surfaces. A liminal coating of gloss paint applied uniformly to floor, ceiling, and wall surfaces will appear to dissolve the ground plane, raise the roof and freight us beyond the confines of the interior. Thus, glossy interiors are prone to exaggera- tion. They can be explicitly employed to aug- ment an embarrassment of riches: consider, for example, the surfeit of effulgent surfaces and gilded interior decoration championed by the Trump conglomerate of hotels. In some instances, high sheen interiors are contrived to bring into focus what is out of place: the residues of blood left in operating theatres are foregrounded against the glossy surgical green floors and sometimes walls on which they reside. Blemishes give themselves away on shiny surfaces: such surfaces highlight imperfections. They bring us closer to them yet they are coy. The proximity between cleanli- ness (shininess) and Godliness is endan- gered when shiny surfaces are damaged: this damage deposes the glossy interior or object back to the terrestrial realm. Dust gravitates toward shiny surfaces, drawn to their liquid- like sheen due to electrostatic. Compelled to inspect them, and excoriate them when neces- sary, we might prefer to keep our distance. We appear quick to judge shiny interiors, things, and people. Shiny people are treated with suspicion: beads of sweat are ensigns of nervousness, dishonesty, lassitude or, worse still, an overabundance of enthusiasm where level headedness and moderation are lauded. Gloss has a bad reputation. The word is often enlisted to suggest that something is being treated superficially, in an attempt to conceal something or whitewash over it. Political strategists are adept at using this tactic to respond to difficult questions by minimizing their importance. To gloss over is to dissemble, to dismiss and mislead. Gloss is superficial. It is associated with surface treat- ments: facades, veneers, and smokescreens. This once over lightly (glossing over gloss) might be understood as one-dimensional and yet this might be its very strength. To treat something disturbing or troubling, one dimensionally needs further investigation. The projects discussed in this paper pro- vide evidence of a critical engagement with this surface treatment to facilitate a sense of disturbance, provocation and unease. For and against pattern: Ruskin’s ambivalent theory of constructional polychromy Anuradha Chatterjee Pattern was an important constituent of applied and constructional polychromy – a key motif in Victorian architectural practice and theory, championed by William Butterfield in his Church of All Saints Margaret Street. Con- structional polychromy is defined as the use of inherent properties of materials to achieve decorative effects, in the form of bands and zigzags, and diaper patterns and stripes. While this was motivated by the exposure to Greek polychromy and geological discoveries, the key impetus was theological rationality (Jack- son 2004, Crook 2003). Architects sought to express the moral pursuit of truth in archi- tecture by using coloured bricks and marble to create decorative patterns on interior and exterior surfaces of buildings. George Edmund Street’s Brick and Marble in the Middle Ages (1855) repeatedly declared the “intense love of reality and truth” in medieval buildings, which sought to explain the “real mode of construc- tion” by the “veneering of brick walls with thin layers or coats of marble”. Ruskin is identified as one of the initiators of this debate (Jack- son 2004, Van Zanten 1970). However, what is not known is that his approach to polychromy and pattern was a lot more ambivalent than is commonly assumed. Karen Pinkus (2010) advocates an alchemical model of ambiva- lence, which relies on the “coexistence of two different and perhaps irreconcilable elements”, and that resists the forced synthesis and reso- lution and the “death of difference”. Ruskin’s productive ambivalence accommodated often conflicting narratives that were aimed at transforming the discipline of architecture. The paper develops this argument in its three sections, by delving into an inter-intratextual reading across Ruskin’s oeuvre, seeking out alignments between his literary, historiographi- cal, and visual strategies, and extending this to the analysis of significant historic buildings. Firstly, Ruskin argued against architecture as the third art: he advocated architecture as the synthesis of the arts of painting and sculpture (Chatterjee 2009). Hence, the surface/wall was now the architectural ‘proxy,’ which had to absorb this transformation by integrating co- lour and low relief ornament into textured flat- ness and surface pattern. Secondly, he argued that buildings were like dressed female bodies. Hence, the cladding had to signify the wall’s affinity with textile and fabrics. The rhythmic pattern of the diagonal chequered white and pale pink marble slabs in Ducal Palace in Ven- ice evoked the alternation of coloured threads in woven fabrics. Thirdly, and most importantly, as surface was like dress, it had to suggest the blushing colour and tonal variations of the female skin. Polychromy was critical in achiev- ing this. However, the conflict between the softness and amalgamated quality of colour harmonies, and the unambiguous intelligibility of patterns needed mediation. Ruskin handled this by advocating the use of natural stones, over paint and coloured bricks, because these materials did not possess the innate translu- cency needed to create a lustrous composi- tion. In effect, the paper brings forth the issues in the operations of visuality, and complexifies established differences and polarities between flatness and texture; painting and sculpture; canvas and textile; and pattern and effect. Traversing Erewhon: territorial image & chiastic desire Andrew Douglas In a pioneering consideration of nineteenth century author Samuel Butler, Ralf Norrman (1986) reads Butler as compulsively, indeed psycho-pathologically, inclined towards the rhetorical figure of chiasmus—character- istically a crosswise arrangement (ABBA) found in linguistic, but also non-linguistic, structures (Wiseman & Paul, 2014: 23). Un- derstanding rhetorical figures as more than ‘decorative’, Norrman argues that chiasmus is ‘structured into’ the language practices of certain authors, eras, and cultures. Building on the implications of Butler’s deploy- ment of chiasmus, this paper considers the patterning of place by stories, particularly utopian fiction. It extends characteristically chiastic approaches to place-understanding (Carter, 2015; Hillis Miller, 1995) that reverse the assumption that places host or back- ground stories, insisting instead that places arise firstly as told entities, entities that char- acterise, pattern and structure topography. Erewhon: or, Over the Range (1872/2013), is a satirical utopia by Butler set in Aotearoa/ New Zealand’s Southern Alps beyond the tributaries of the Rangitata River. It’s title, an anagram of ‘nowhere’, signals an inverting will characteristic of chiasticism, one that reverses Thomas More’s title, Utopia (1516/2012)—an amalgam marrying the Greek no (‘ou’) and place (‘topos’)—but its island setting too, with Over the Range opting for a mountainous crossing, rather than water, to assert spatial discontinuity. Over the range in fact is found a complex English Palladian mirror, one that counters New Zealand’s rudimentary colonial settlement, that refigures its indigenous oth- ers, and which satirises Victorian imperialism and its technological will. The intractability of colonial place-making finds relieving anima- tion in an imaginative resurfacing of distant vistas. In place of a fabled, alpine passage to the West Coast (attempted and aban- doned by Butler—Ansley & Bush, 2012: 38), an alternative penetrative gesture is substi- tuted: fictional image and its deepening. Drawing on Jean-Luc Nancy’s (2008) in- vestigation of the chiastic ground of images generally and Louis Marin’s anatomy of the utopic image particularly, this paper will think, in the context of Erewhon, the implications of chiasmus for territorial images. Working through a crisscrossing of proximity and depth as they play out in topography and its pat- terning, the paper will investigate what Marin sees as utopia’s positing of the neutral—a place where an infinite, imaginative free play is contracted with closed totalities (1993: 403). Thought through at the level of desire, Deleuze and Guattari (2000) find in Butler’s chiastic quest for non-opposition—itself indicative of the neutral—“a point of nondifference or dispersion”, one capable of dismantling “both vitalist and mechanist arguments” in favour of a “difference in union” (2000: 284-285). In this way, they argue, Butler shows how opera- tions of desire may be radically rethought. To the extent, as Nancy characterises, mo- dernity can be understood as an on-going quest for the “effacement of simple opposi- tions and a transgression of boundaries” (2005: 18), Erewhon as a territorial image offers more than a chiasmus indicative of amelioration and reconciled difference as Norrman reads it. In Butler’s fiction chiastic desire may be read as a critical animator in the constitution of surface patterns generally. Superficial immersion: flat ontologies and the picture plane Carl Douglas A drawing constructed according to the techniques of descriptive geometry is a special kind of surface: a marked substrate doubled by the device of the picture plane. Simulta- neously window and blade, the picture plane was devised first in perspective methods, and subsequently generalised as an abstract surface through which three-dimensional objects can be passed, apprehended and manipulated (Pérez-Gómez and Pelletier, 1997). We don’t merely design surfaces, we design by means of superficial operations. But such drawings are not only flat in the sense that three dimensions are squished or elided into two. They also entail an ontologi- cal levelling and mobilising. Flattened onto a shared surface and governed by an “optical consistency”, things are drawn into relation and mobilised towards some end (Latour 1981: 8; Latour and Yaneva 2008). James Corner’s description of maps as “massive collection, sorting, and transfer sites” is apt as a general account of systematised draw- ing (1999: 215). By means of the drawing’s “facture”, disparate things are loosened from their contexts, brought together, and slide into new configurations (Frascari 2009: 200). Can insight into this flattening be gleaned from recent philosophers who espouse a “flat ontology” (De Landa 2002, Bryant 2011)? Flat ontologies insist on a “pure heterogene- ity that breaks down all differences of degree or intensity in favour of differences of nature” (Meillassoux 2012: 15). This brings them into conflict with both Cartesianism, for which ex- tensity is primary, and Deleuzian monism, with its emphasis on intensity. Rather than under- mining or “overmining” — seeing things either as a sum of their parts or of their relations — a flat ontology invites the most irreducibly diverse entities to share a “transformational space” (Harman 2013: 45, Douglas 2011: 45). In seeking to illuminate the operation of drawn surfaces in light of flat ontologies, and to demonstrate the practical value of such a theoretical framework, I offer a discussion of a recent speculative drawing: a proposal for a composite stone column marking the edge of two historic reclamations on the northern edge of the Māngere Inlet. The column is not articulated primarily as a three-dimensional form, nor as a perceptual experience, but as one aspect of an extended spatio-temporal choreography: a constellation of far-flung things set in motion. The drawing operates more as table than screen: in place of the depth produced by a picture plane, the draw- ing foregrounds horizontal relationships. Flat ontologies posit the condition of being im- mersed in the surface. Rather than discover- ing significance or substance behind or below the surface, they invite accounts of mobilisa- tion and assembly, selectively neutralising the dichotomy between surface and depth. Binding and arresting: surface and pattern in contemporary traditional Pacific buildings Tina Engels-Schwarzpaul In classical Pacific buildings, figures or textures like lalava (lashings) performed iconic and technical functions simultaneously. What happens when the latter are performed by other means? The Fale Pasifika at the Univer- sity of Auckland (opened 2004) shows that the figures’ binding features outlast their technical necessity. Perhaps because the building, in the right constellations, can still bind together ancestral knowledge and present practices, despite many concessions to alien rules and regulations, the building attracts diverse types of audiences – including non-Pacific people. What conditions enable arresting patterns on refined surfaces “to symbolise and effect rela- tions of mana” (Tomlinson & Tengan 2015: 17) and to channel affective force – even beyond the initiated? How can the notion of iconic power (Alexander, Bartmanski, & Giesen, 2012) be a valuable strategic resource and an ordering principle in the juxtaposition of contradictory perspectives? How does iconic power relate to Indigenous Pacific concepts? Integrating aspects of materiality, performativ- ity, atmospheres and non-human agency in the Fale Pasifika with more traditional, structural- ist insights this paper produces cross-overs between architecture and anthropology. In Western culture, patterns are commonly considered to be as flat as the surface that carries them. Tongan lalava tofunga (lashing expert) Filipe Tohi disputes this; he asserts that lalava is “deeper than just the lashing”, more connected to a changing world and cosmos-in-motion than given credit. Patterns extend into cosmological, social, techno- logical and subjective realms. Some Samoan tufuga fau fale (master builders) use carving to produce strange animations, stirring sur- faces and producing patterns that “generate relationships over time between persons and things” (Gell 1998: 80). These patterns can arrest and ensnare a viewer (Gell 1998: 82) through the experience of a “mimetic pass- ing over into the object” (Rampley 1997: 45). Boundaries between a subject and her world dissolve when images and things converge and the appearance of things is seen as part of their materiality (Payne 2014: 317, 310). The surfaces making space for patterns and textured expressions often have to be pro- duced, first, made fine and even. In Samoa, the surfaces of measina (treasured objects) are smoothed and bleached, then elevated and revealed (Refiti 2015: 128). A house that is measina stands at the centre of a com- munity and embodies its mana. Its patterns can develop durable relationships between decorated building and the people relating to it. Since patterns “slow perception down, or even halt it”, the building “is never fully possessed at all, but is always in the process of becom- ing possessed” (Gell 1998: 81). Thus, iconic Pacific patterns and forms based on “repeti- tion, balance and complementarity” (Tomlin- son & Tengan, 2016: 17) not only contribute to a buildings’ aesthetic quality but transfer and channel mana. For their communities, they establish and maintain linkages between the living, the dead and the cosmos. Repeti- tions, then, “symbolise and effect relations of mana”, in classical houses in their original context and also in contemporary fale in the diaspora. This paper traces “correspondences between heterogeneous images”, regions and cosmological events (Papapetros 2010: 42) through a consideration of the Fale Pasifika in interviews, site visits, and theoretical sources. Urbis Porta: extending my self and home as animated surfaces of Salmacis and Hermaphroditus Sue Gallagher I sense my body as being different from any other bit of creation. The act of realising myself both as a separate unique entity and a composite, a manifold, only occurs when I have configured myself in my fellow. Joseph Rykwert This paper undertakes a consideration of sur- face animation by way of Ovid’s Metamorpho- ses, specifically the mythical union of Salmacis and Hermaphroditus in Book IV. The story of the water nymph Salmacis’ advance and rejec- tion by Hermaphroditus, and her eventual cap- turing of him in a reflective pool through divine force, plays out a curious amalgam of surface effects – the grooming of hair, the shedding of cloths, the play of light on disturbed water and immersed skin, sensuous and coerced contact, the merging of bodies and the confounding of corporeal gender markers – all in the con- text of a storytelling enacted by the sisters of Minyas as they weave in violation of a release from work intended to celebrate the Bacchic rites. This tale calls into question the fixity of bodies and, with the supernatural weakening and transformations of the pool of Salmacis, a certain un–grounding. The tale, then, speaks to the creation of androgyny, where bodies are no longer stable and genders fixed, where bodies become fluid and are transformed. On this background, the paper considers a similarly aqueous transformation of Auckland City’s urban body, a watercolour produced by the design office of Gummer and Ford featuring the Dilworth Building, a neoclassical commercial building constructed 1925-27. The watercolour, dated 1922 and titled Urbis Porta, features a mirrored double to the Dilworth Building on the opposing corner. The reflec- tion proposes a theatrical, grand gateway, symmetrically framing the city as it opens into the depth of the Queen Street. Curiously, the watercolour itself, with its golden hues and gradated blue sky, dissolves the actual urban fabric beyond. It idealises and fixes with an architectural gesture the otherwise rough animation of early twentieth century Auckland. While the speculative Urbis Porta was never completed, in its beholding, a transformation occurs: Auckland appears as a half–city, a weakened whole messily unfolding, not under an eternal, watery blue sky, but in the change- able conditions of commercial development and speculation. Yet the watercolour prompts another transformation. The distancing spectacle of the Urbis Porta, all surface and illusionary depth, calls up another orientation and counter–dwelling: my own occupancy of an apartment within the Dilworth Building. There I live and work, not on the surface, but from the inside out, in a reworking of the nor- mative configuring of home as a reproductive crucible patterning family, social, and cultural relations. Folding spectacle and embodied life into each other, this paper explores how self–relation and sexual difference can be housed differently – in the sense of alternate modes of productivity and world–making. How might the un–grounding characteris- tic of both Salmacis and Hermaphroditus’ amphibious crossing, and the lived androgyny it implies, be rethought at multiple scales in the doubled siting of the Dilworth Building. Architecture’s mourning skin Farzaneh Haghighi This paper explores the ways through which the architectural surface might be used as a significant source for power to make the past legible. In doing so, it examines a renova- tion project in the Tehran Bazaar that employs particular patterns, textures and forms to as- sociate the bazaar with an Islamic origin. Initi- ated in 2011, The Street Façade Improvement is a restoration project that expanded across the whole 110 hectares of this marketplace and led to the construction of internal and external archways reminiscent of the security mecha- nism of town-gates to regulate the circulation of commodities in a walled city. Built in the sixteenth century, the Tehran bazaar in the south of Tehran is mainly conceptualised as a linear marketplace structure and as a united socio-political entity consisting of several public buildings that vary in form, function and historical value (Keshavarzian 2007). The investigation of this restoration project is important for two key reasons: first, the Tehran bazaar emerged as a socio-political point of opposition against the government during crucial urban uprisings in Iran modern history (the Tobacco Rebellion of 1891-92; the Constitution Revolution of 1905; the Oil Nationalism Movement of 1953; the White Revolution of 1963; and, most importantly, the Islamic Revolution of 1979). In recent years, it has become a target for restoration projects that are seeking to transform it to a neutral historical-cultural touristic centre. Second, the key architectural tool for the restoration in implementing their project (construct- ing a site of nostalgia) has been the façade. By opening a discussion on origin, truth and memory, this paper examines the power rela- tions seeking to establish a specific origin for the Tehran bazaar. Theoretical explora- tion will be informed by French philosopher Michel Foucault’s problematisation of a pursuit of origin; American literary writer Eduardo Cadava’s invitation to learn mourning; and Iranian photographer Azadeh Akhlahi’s creative reconstruction of historical events. Although these three perspectives might seem disconnected, they serve to associ- ate two diverging notions; that is, on the one hand, that remembering the past is essential for any culture; but, on the other hand, that each image of a memory is a construction. By defamiliarising frame and framed as con- structed facts and not intrinsic truths, Foucault (1984) disturbs the immobility of the origin and describes it instead as a site of confrontation of multiple forces. Cadava emphasises the need to learn mourning and engaging in the politics of memory – not only because of a loss, but because this act is a conduit for finding the possibilities for future identities (Cadava 2003, 1997). Akhlaghi’s photographic project acknowledges the fictive character of any his- torical narration. She recreates tragic deaths – markers in Iran’s modern history – that have not previously been visually documented. By being present in all projects she emphasise the fictive representation of events. In this paper, I will only focus on one specific photograph from Akhlaghi’s project, that is, the murder of three students at Tehran University in December 1953 – a significant event whose commemora- tion give rise to student protest every year. Agonistic ornamentation: street art as resistant patterNation Dorita Hannah In Ornament and Order (2014) Rafael Schacter opposes ‘Consensual Ornamenta- tion’ with ‘Agonistic Ornamentation’ when dis- cussing graffiti and street art. This second term refers to the productive friction advocated by Michel Foucault and Chantal Mouffe; replac- ing the consensual agora with the competitive agon as a new means of practicing democ- racy. As a dissensus, rendering visible what the dominant consensus wishes to conceal and eradicate, street art also challenges the propriety of urban design and architecture as well as their servitude to power; foreclosing on plurality and difference in the what Schachter calls “the deadening vacuity of the ostensibly ‘public’ sphere” (p103). This paper therefore looks to the defiant and fleeting acts undertak- en by street artists ‘against architecture’ and how they also suggest new forms of spatiality and urban detail through what Stephen Bot- toms and Matthew Goulish name “small acts of repair”. As performative utterances, the ago- nistic ornamentation of graffiti not only speaks to power but establishes its own speech acts regarding neighbourhood, nationhood and borderline subjectivity. This is particularly evident in Banksy’s month-long ‘residency’ in New York during October 2013, as well as ‘his’ interventions on the West Bank Wall. It can also be seen in the more sanctioned works of French street artist, JR, particularly via the ex- tended and globally dispersed project, Women are Heroes. Both Banksy and JR ornament architecture – undermining its monumental- ity through momentality – in such a way that we have to look and look again: rendering the built environment an unseemly spectacle while unearthing the hidden histories, mytholo- gies and living realities of time and place. This ranges from well-placed singular images and textual slogans to temporary embellishment that enacts a more relational dialogue with architecture. Rather than rhythmic pattern- ing, such agonistic ornamentation undertakes a deliberately arrhythmic approach, speaking back to Adolf Loos’ 1908 critique of orna- ment as erotic, primitive, infantile, feminine, degenerate and excremental: as a smearing of supplemental matter that threatens to seep in and deny surface itself. Such spatial speech acts are therefore formulated as PatterNa- tion; a recalcitrant babel undermining and offering alternatives to architecture’s com- plicity in the homogeneity of neo-liberalism and hegemony of dominant power relations. Pattern and the digital narrative: the impact of digital innovation on pattern and placemaking Natalie Haskell Griffith University, Queensland College of Art, Design. Natalie Haskell is a designer and higher degree researcher at Griffith University, Australia. Research areas include investigating the intersection of materiality and digital fabrication technologies and the impact on design practice to create custom- ised and localised products and solutions. Digital processes allow for experimentation with, and representation of, place, culture and identity in readily customized design and pro- duction workflows that support the incorpora- tion of localised, site specific pattern within the built environment, across all design scales. With an increasing ability to create diverse, complex and easily replicated forms, the digital process enables and has in turn defined a new pattern narrative. This parametrically and digi- tally fabricated driven workflow has generated a suite of pattern approaches that exploit the digital possibilities and concurrently gener- ated an identifiable pattern narrative, such as cross-disciplinary approaches to include science and biomimetics. Where technolo- gies were originally employed to replicate what could be done by hand, “advancements in modelling spatially complex 3-dimensional shapes has affected our design thinking” (Thomas 2007: 140) and, in turn, the patterns we can create and manufacture. The rise of fabrication technologies such as 3D print- ing has further impacted on the control over shape and composition (Lipson & Kurman 2013) and influenced aesthetics of complexity (Warnier, Verbruggen & Klanten 2014: 38-39). Drawing on Gombrich’s (1984) theories, the use of pattern is a key factor influencing how an environment or object is perceived and in- teracted with, and how it impacts on human ex- perience. Ryan et al. (2014: 68) discuss the idea of complexity and order with reference to rep- lications of natural forms and the “associative relationships between the patterns, structures, flows and rhythms – that provide, support and organize information – and human percep- tion.” To consider the role of pattern as a signifier of place and culture one can examine design processes that elevate space to place. Considering the impact of pattern and the ways in which emerging technologies facilitate diverse prototyping, the paper explores what a surface, cladding and structure can be when its ability to incorporate patterned responses is increased. This can be discussed through the works of key practitioners and their localised site responses, such as Digital Grotesque, the ICD/ITKE Research Pavilions, King Abdullah Financial District (KAFD) Metro Station, and the Portrait building in Melbourne. Ben Pell (2010: 12), for example, investigates transla- tions of ‘digital surface’ and patterning gener- ated both through digital models and digital fabrication processes. Given the possibilities of digital technologies, this paper argues that a new pattern narrative has been established – influenced by a globalised digital aesthetics. Key exemplars are discussed along with chal- lenges and opportunities for site-specific and culturally reflective localised design responses. Micro-structures, building blocks and the sculptural relief Susan Hedges Surface articulation is a critical is- sue for architecture, and this paper sees the wall as a point of intersection where art and structure may converge and collide. A place of experimentation, a site of perfor- mance where built volumes and surface embellishments blur and reinforce edge conditions, in which ornament, as embel- lishment, and essential structure merge. A survivor of the recent Wellington earth- quake, Jim Allen’s seven-metre-long relief of sculptured concrete panels (Allen, 2014: 76) was created in 1995 for the New Zealand head office of the British company ICI (Imperial Chemical Industries). It was cast in 36 panels from a worked clay surface, the relief ’s physi- cal integrity a single material substrate. The negative forms offer an elemental imagery, a worked clay surface filled with cement, giv- ing sharp profiling to the modelling. Complex, infinite, interlacing geometrical forms spread across the surface – a large microscopic lens that peers at the structural makeup of the building blocks of copper crystals. The surface articulation becomes a place for ar- chitectural invention where the skin becomes independent and the sculptural relief be- comes part of the work, as well as its support. Following the building’s failure, the relief sur- vived a 5,000-tonne demolition. Construction, size and position of the work have contrib- uted to its survival, partly because the relief shifted from surface activation to structural member. This paper investigates the relief as it protrudes from the surface of the building’s interior. Surface, layer and structure extend beyond the planar, producing a range of com- plicated effects. Visible and invisible incrusta- tions, geometric forms and structural matrices transform and become linked to depth, substance, mass and thickness (Papapetros 2013: 3). The demarcation of the essential and inessential is blurred and a perception of ornament as dangerous during earthquakes is subverted. This paper focusses on material mediation, where the whole is built as an ac- cumulation of parts, and the part is a portion of the whole, which has become a place for ar- chitectural experimentation, a site for smooth geometries, tessellated patterns and material textures that also perform technical functions as joints, details, joining patterns and structure. Staging the face Ross Jenner This paper examines two modern and two contemporary versions of the façade, especially through tattoo and its afterlife in the between of Pacific and Western knowl- edges. Face and façade are treated not for their formal and aesthetic values, nor as signs and visual cues to be deciphered. Instead, the focus is on their agency in changing the world by acting on emotions rather than by articu- lating sense, logic, or construction. For Alfred Gell, art objects are social agents, so that buildings act and perform in networks of social relationships. Exercising agency, then, means exercising the power to influence spectators and make them feel or act in certain ways. Buildings can be made to share characteristics of living beings when they are conceived to be alive as agents (van Eck: 2015) and to pos- sess “intentional psychology” (Gell 1998: 131). Life has always been attributed to buildings. Agency was already at the core of traditional definitions of ornament as “furthering” its car- rier, and bodily behaviour has been projected into architectural form at least since classi- cal Greece. As a bodily schema, a building elicits an empathetic response (Payne 2014: 314) and, in Renaissance profiles, the classical schema was enlivened by facial proportions. Traditionally, the job of ornament has been to provide movement, motivation, vividness. The background of this paper is the facial tattoo (Gell 1993; Thomas 2005, Te Aweko- tuku 2007) – from Sydney Parkinson, to Owen Jones’ tattooed Māori head, to Alois Riegl’s discussion of examples of tattooing, to Adolf Loos’ iconoclastic polemic against ornament, to Patrik Schumacher’s “Parametric Pat- terns” (2009: 7). In this example, Schumacher writes about Zaha Hadid’s Azerbaijan Cultural Centre, Baku, “(t)he utilization of seaming as accentuating device is comparable to the feature accentuating Maori facial tat- toos.” Animate form returns with the demise of the machine paradigm in architecture. In certain representations, Māori architect, Rewi Thompson, animates his own house (1985) with the vividness of red – the vitality of blood. He variously likened the building to face, body and pā (fortification). Iconic figural elements activate cultural memory in the way they stage a play enacted before one’s eyes. Here, as with my other examples, the build- ing is a living being, attributed with skin, face and personhood. The inanimate unsettlingly appears as animate, but Thompson goes beyond this. Like Giuseppe Terragni in his unbuilt Palazzo Littorio, he makes the face act as persona, or mask. In Terragni’s project, the principal façade is composed of a suspended screen, a curtain of blood-red stone, split at its point of equipoise for the emergence of one actor, il Duce. Manfredo Tafuri notably described the vast wall as “tattooed” (1978). It is a curtain, mask and scaene frons. Its ‘lines of force’, represented by the diagram of isostatic lines, stage the intrusion of the future into an ancient past. For Thompson, “the shape of the house is not a person or head necessarily, though if it was a head it would have no eyes. Therefore, it does not look out onto the street in a day-to-day way” and, in this resistance, confronts suburban expectations (1995: 26). Convex brick concave stone: beauty in the irregularity of surface patterns in South Fujian, China Naibin Jiang In terms of both construction and aesthetic appeal, South Fujian traditional architecture possesses a unique and evocative character embodied in its distinctive surface pattern, namely Convex Brick Concave Stone. This mixed-material construction utilizes a com- bination of brick and stone, creating extraor- dinary surface patterns which are simultane- ously random and rhythmic, contrasting yet harmonic, resulting in a distinctive decorative effect that leads one to question the underly- ing meanings and motivations of the design. Interestingly, it was neither aesthetic intent nor artisanal prowess, but rather a response to natural disaster that led to the unique designs. The stones and red bricks that create the distinctive surface patterns were remnants of structures that had collapsed following earth- quakes and were utilized to quickly rebuild buildings. The reuse of these locally produced materials was common practice. There were no special shapes or size requirements, as the materials were plucked directly from the ruins, but their earthquake resistance was proven. Intentionally or not, the placement of random stones and bricks formed irregular yet rhyth- mic patterns, generating perfect geometric effects and aesthetic features, among which texture and contrast are the most distinctive. Irregularly shaped horizontal red brick and vertical grey stone were joined together, form- ing a creative rhythm that goes beyond planar fixity. The pattern itself is flat, but because of the convex bricks and concave stones, the plane becomes three-dimensional, forming rich spatial layers on the surface. Even though the outward layer is not polished, the red brick and light-coloured stones combine together to provide a rich and contrasting effect, form- ing a unique surface pattern of contrast and harmony, generating beauty in irregularity. It is not only found in private residences, but is also popular in palaces, mansions, and even religious buildings. Evidently, this approach was not simply a civil construction method, but was also a regionally widespread decorative and constructive surface pattern, gradually regard- ed as a cultural symbol. People also attributed different auspicious meanings to the patterns. Traditionally, there is clear boundary when it comes to mixed-material construction, so that the complete fusion of materials in this case is very worthy of investigation. The paper will draw on a brief introduction concerning cul- ture, construction and layout of Fujian buildings in Traditional architecture of South Fujian (Cao Chunping 2006); the decoration pattern analy- sis in Red-brick residence decoration aesthetic (Chen Yingjiao 2008), which illustrates this pattern in aesthetic ways; and case studies of reused waste materials from Waste-materials recycling in traditional building (Wuxing 2013), which provide methods for recycling from traditional architecture. The paper focuses on South Fujian traditional surface decora- tion, analysing its motivations and patterns. More specifically, it analyses materials, forms, textures, contrasts, constructions and expres- sive methods by researching geographical and historical backgrounds, material properties and construction technology. Thus, this paper adds a new research perspective and first- hand research data to the analysis of surface pattern, and it discusses possibilities for recy- cling waste materials and exploring innovative development of this traditional surface pattern. The “mediated shed” - public space and “the forgotten symbolism” of post-consumerist architecture of hyprermediated interspatial patterns Manfredo Manfredini, Tanyalak Chalermtip and Angelo Bueno Fifty years after the publication of Debord’s Society of the Spectacle, the key role of surfaces in constituting alluring spatialities in commercial assemblages has increased from the superficial to the atmospheric, and from the architectural to the hypermediated. This shift has particularly affected urban centres dominated by the new enclosures of integrated consumption that progressively polarise citizens’ associative life: the latest generation of shopping malls. There, the static and two-dimensional material interface of traditional architecture has expanded its do- main into dynamic and multimodal entities. Meta-surfaces of extended interspatial ap- paratuses now form multiple interlocked sub-systems of enclosures. Each sub-system is a precinct with a finely tuned spectacular programme, each ambience constitutes a part of the overall eventful commercial/lifestyle en- semble. Its spaces are scripted (Norman Klein) and articulated through looping paths that con- trol behaviours and coordinate emotional driv- ers, such as belonging, excitement and enjoy- ment, as well as bodily rhythms, such as those related to movement, fatigue and hunger. Their performance hinges on communication forms that embrace the digitally augmented lifestyle and its gamification (Deterding et al 2011). This paper discusses findings of an investiga- tion from a spatial perspective of the latest generation of shopping and entertainment enclaves, to answer the following ques- tions: How do the new hybrid/augmented meta-surfaces of post-consumerist shop- ping environments effect changes in the of territorialisation in our cities? Is the contem- porary augmented spectacle exacerbating the simultaneous de-territorialisation and re-territorialisation of the modern mall? The paper reflects on conditions found in post-consumerist environments in Auckland, New Zealand. It analyses the production of new multidimensional spatial patterns, focusing on embodiments in the digital realm. It pro- vides a description of the changing relations between perceived and experienced spaces in emerging forms of territorial appropria- tion and association. It uses evidence found in the analysis of the mediated public realm, using geo-located data generated by the most popular image-based social media application, Instagram, and the most successful augment- ed reality gaming application, Pokémon GO. The discussion concentrates on the effects of de-territorialisation and re-territorialisation found in the new, experientially augmented “spectacular” realms. We interpret de-ter- ritorialisation as the agency responsible for fragmentation of proximity-based territorial configurations. Whilst profoundly disturb- ing socio-spatial relations, this fragmen- tation increases territorial segmentation, producing new topological geographies of networked meta-surfaces. Conversely, we consider re-territorialization to result from antagonistic forces of territorial recombina- tions of a topological kind, which cross the boundaries of the disjoined apparatuses and scales (body, precinct, enclosure and city). The concluding notes reaffirms a relation- ship between the transformations of re- lational life in our “society of augmented spectacle” and the spatial agency of new enclosures with ambivalent hybrid/augmented meta-surfaces. Empirical evidence regard- ing the steady reconfiguration and instabil- ity of hypermediated socio-spatial chains of associations is used to shed light on the unprecedented scalar shifts in the emerg- ing topological relations that make the mall a prime node of emerging, digitally pervaded, more-than-consumerist post-civil society. Pattern-surface and repetition-rhythm: a tāvāist criticism (non refereed abstract) Semisi Potauaine & Okusi Mahina This paper sets out to interrogate pat- tern as repetition, and surface as rhythm, from the perspective of general tā-vā (time-space) theory/philosophy of reality. It critiques the confined treatment of the ontological enti- ties of space as pattern, on the one hand, and surface and time as repetition and rhythm, on the other, strictly by way of material narratives to be epistemologically ego-centred, singular, linear and three-dimensional as opposed to their being treated independently albeit onto- logically as reality-based, plural, circular and four-dimensional. The latter denies the historic- ity, plurality and circularity of tā-vā (time-space) and fuo-uho (form-content), as well as their fluidity, inseparability and four-sided-dimen- sionality, in both abstract and concrete ways. These are made evident in Tongan arts and its categories as faiva (performance), tufunga (ma- terial) and nimamea’a (fine) arts, meaning re- peatedly “doing things in space,” “beating space” and “hand-marking space” respectively. In abstract ways, tā (time) is spatially-composed, verb-based and vā (space) temporally-marked, noun-led and, in concrete terms, fuo (form) is substantially-formed, verb-defined and uho (content) formally-demarcated, noun-driven. All things in reality as in nature, mind and society enter into eternal relations of intersection or connection and separation in the form of mata (eye) or ava (hole), functioning as an artistic de- vice for their mediation in the creative process. Their mediation through sustained symme- try and harmony to create beauty transforms them from a condition of chaos to a state of order, as in the use of the mata matangi (eye- of-the-winds)-ava matangi (hole of the winds) intersections or connections and separations, on the one hand, and the mata peau (eye-of- the–waves)-ava peau (hole-of-the-waves) intersections or connections and separations, on the other, where the performance art of faiva fānifo (surfing) is performed by means of the mata (eye)-ava (hole)-like papa fānifo (surf- boards) and mata‘i hui (eye of the needle) or ava‘i hui (hole of the needle) in the material and fine arts of tātatau (tattooing) and nimamea‘a tuikakala (flower-designing) respectively. All the kupesi, designs or patterns, such as the tokelauFeletoa, manulua and kefukefu, are abstract manifestations of concrete objects as fortress-of-Feletoa, two-birds-flying and wave-ripples-in-constant-motion through intersecting or connecting and separating kohi/tohi (line) and vā (space) in the form of mata (eye) or ava (hole). This is clearly seen in the tu‘a-loto, loto-tu‘a (outside-in, inside- out) movement of concrete objects such as the fortress-of-Feletoa, two-birds-flying and wave-ripples-in-constant-motion respectively into the abstract kupesi, designs or patterns such as the tokelauFeletoa, manulua and kefukefu, basically as intersecting or connect- ing and separating kohi (line) and vā (space). It follows that both tā (time) and vā (space), like fuo (form) and uho (content), as mere ontological or metaphysical (and epistemo- logical or metaphorical) entities are, in their multifarious manifestations, reality-based, plural, circular and four-dimensional in modus operandi, constantly yet inseparably moving in multidirectional, multidimensional ways, as in the behaviour of kupesi, designs or pat- terns. In fact, they are not ego-centred, thought to subjectively move in singular, linear and three-dimensional ways nor are they con- fined to only materiality but rather, by virtue of existence, a necessary condition of the whole of reality, including mentality and sociality. The binding of animals and gods with encircling aether and eyes in Pacific architecture (non-refereed abstract) Albert Reftit The paper contends that, in Pacific archi- tecture, the iconic value of buildings is their capacity to signal ideas of relations and kinship ties. Pacific material culture is obsessed with generating and making connections across time and space to create effective images or icons of the structure of belonging. The iconic signifies the weaving and fortifying of relations gathered under one roof, one name, through the custom of binding motifs. Lashed from cords and strings, powerful symbols weave and impress social and genealogical memories into the building itself (Shore 1988) and evoke ‘association’ and ‘congregation’ (Valeri 1985). Thomas Powell made a con- nection between the etymology of the name Tagaloa, the Samoan progenitor, and the Sa- moan cosmology by suggesting that Tagaloa stands for “the encircling Aether” (Powell & Fraser 1892). By dividing the name into two parts – taga and loa – he produced a series of meanings: taga or taga’i is to ‘wind round’ like an ulcer encircling a limb, and ta’aiga is a ‘roll’ of fine mats. Tagai is also a ‘bark’ or ‘rind’, something that ‘envelopes’ and is a ‘wrapper’. Loa denotes longevity or endless. His analysis intimates that the Samoan progenitor is re- flected in the image of a textile container that envelopes and encloses eternity – ‘the God that encompasses all things’, or ‘the encir- cling Aether’. It is this essence of covering and encircling or, more importantly, linking, binding and knotting, that I will explore in the paper. In striving to connect ‘the social’, Pacific ar- chitecture produces apparatuses (Foucault 1980) that corral and bind genealogies and the cosmos into and to a place by forming rings on paepae platforms underneath spreading woven roofs. The fale (hourse) provides a cov- ering roof, stretched and extended over all who come under the name of the founding ancestor. The paper analyses the fale’s lashed and wo- ven patterns, with faces and eyes as totems linking the building to blood sacrifice (Hersey 1989). The sumu pattern (Krämer 1994, Col- locott 1922) in architecture, for example, is explored to show that it is, first, a mythologi- cal sacrificial icon and symbolic connector between the heavens (Lagi-tua-iva and the diamond-shaped outline in the Southern cross) and the clan who gathers in the fale. Second, these lashed patterns produce all-seeing-eyes and faces that shine from all corners of the building, reflecting the concept of the com- munity as a panoptic habitus. Pacific buildings, here, are examined as assemblages of fitted timber pieces lashed together to resemble a woven cloak thrown over ceremonial and ritual spaces. Marked by ‘ritual attractors’ and repositories “for maintaining, holding, and augmenting the tangible and intangible property of the ‘house’ [with] cosmological features linking the dwelling structure and the social group with ancestors” (Kahn, 2008), These buildings produce patterns that weave the architecture together, “shaping space around ritual” (Dodds & Tavernor 2002). The architecture becomes the living embodi- ment of the divine, a ‘cult-statue’ or visible image, “ set up there in order that the god might come and dwell in it” (Cornford 1977). Material narrative in drawn and built surface Nicholas Skepper How do made surfaces hold mean- ing and narrative? How is that significance borne out of the materials and processes through which the surface is made? This paper will explore the notion that surfaces hold ideas and meaning in the traces ac- crued in the act of making. The term mak- ing in this context refers not only to buildings but also other surfaces, including drawings. Attitudes and tendencies towards surface over the past century have been well documented in architectural discourse – from the eradica- tion of ornament in modernism (Payne 2012, Papapetros 2013) to the re-engagement with surface, ornament and pattern by contem- porary architects over the past two decades or more, including a renewed interest in the symbolic, political, cultural and environmen- tal function of surface (Zaera Polo 2008, Pell 2010, Taylor 2009). A fascination with surfaces formed through repeated patterns has pervaded this renewed interest in surface. Often driven by developments in computer- aided fabrication, these patterned surfaces privilege visual representation and lean heavily on image making, often by means of cutting, perforating, etching and printing. The ap- plication of images (abstract or otherwise) by digital means to architectural surfaces is, for example, starkly evident in the 36 built projects analysed in The Articulate Surface (Pell 2010). Often missing from this conversation is a discussion of how the processes and materi- als by which the surface is made can develop a narrative and give meaning to the work. To address the underrepresentation of such issues within current discourse, the paper will discuss works that demonstrate the capac- ity for surfaces to hold material narratives in the traces of their making. Initially, this discussion will take place through an exami- nation of the drawn surface. A discussion of drawing is useful here because it demon- strates the capacity for even a flat surface of minimal material depth to construct narra- tive and meaning in the marks that accrue in the actions performed upon it. Architect Pier Vittorio Aureli’s Non-Compositional Draw- ings and the drawings and paintings of artist Agnes Martin serve as cases in point here. Following this, two buildings by contemporary practice 6a Architects will be discussed; the Albemarle Street shop front for Paul Smith and Raven Row, Contemporary art exhibi- tion centre, Spitalfields, London. The former project draws on the ubiquity of cast iron as a building material in London, and the textures, structure and craftsmanship of fashion gar- ments in the making of a subtle but highly patterned cast iron shop front. The latter refer- ences the traumatic history of fire damage in an eighteenth century silk mercers’ house with the use of fire treated timber linings in the renovation works. Both projects can be positioned, with respect to the re-emergence of surface pattern and ornament, as a central preoccupation in contemporary architecture. They can also be shown to be concerned with surfaces that manifest as expressions of making processes (casting of iron and char- ring of timber), rather than representation. [My] Face and the foreign body Nooroa Tapuni coon, cunt, nigger, savage: a pattern I used to incise an ephemeral surface that functioned as an interactive digital self- portrait. This abstraction, an othering of self where the identifiers of art and art- ist are brought to face, brought to surface, disassembled itself through the presence of a ‘foreign body’ (viewer/participant). The paper seeks to tease out a complex read- ing of untitled interaction, [no. 1] (2014) a work in a series of interactive digital self-portraits. It employed the words coon, cunt, nigger, savage in a repeated sequence to construct a face. The face would disassemble as the words fluctuated in size. The motion of the viewer/participant, ‘foreign body’, triggered this transformation. This discussion is cen- tered on the work as an installed interactive installation. It questions the face as surface and the notion of the “foreign body” in relation to an indigenous ontology of interconnec- tion in the Mangaian Cybernetic continuum . The self-portrait of disseminating pixels rendered the face as surface through the abstraction and reduction of information, through software, digital coding and real-time data capture. In line with Deleuze and Guat- tari’s (2004) discussion of faciality, the face here is not a head but a surface that is sepa- rate from the body. The ‘foreign body’, within the interactive installation, has in itself been reduced to a surface through the function of its capture. It operates at the level of ‘facial- ity’ to induce a means of control (Tapuni, 2010, 2016). That is surface, controlling surface. However, this reading of face as surface is rendered more complex through the Manga- ian cybernetic continuum, where the role of the artist is that of a conduit to ancestor. Here, connection is encoded via the body, into mate- rial art making processes. That is, through the lens of the Mangaian cybernetic continuum, the material process of the medium is encoded in connection to the body and ancestor. Hansen (2003) contends that affective inter- facing through the digital-facial-interface in digital interactive installations circumvents the technical mechanism (that which ren- ders surface). In doing so, it allows the body to interact with the information to create im- ages. This notion allows the ‘foreign body’, the viewer/participant, to function as a medium for the interface between the embodied hu- man and encoded digital media. Here, the embodied relation is faced with, and disturbs, the artist’s face made surface. The embod- ied relation disturbs the dis-embodied face. How does face, as surface and ‘foreign body’, manifest itself in the embodied presence of ancestor? How does the ‘foreign body’ manifest as medium for this interface? Could this mean a return to surface or does surface become something other than a 2D plane? Does it become implicit to body and ancestor? Whakairo rangatira – patterns of the chiefs Keri-Anne Wikitera Marae in Aotearoa New Zealand are Māori tribal gathering places that continuously re- affirm cultural identity, tribal solidarity and connection to one’s tūrangawaewae (ancestral place). Central to the marae complexes are tūpuna whare (ancestral houses), which are considered symbolic embodiments of being Māori. They represent ancestral connections in their naming of eponymous ancestors and, in physical form, through whakairo (carvings), tūrapa,(woven panel patterns) and kowhaiwhai (painted panels), embracing spiritual dimen- sions in Māori cultural practice, traditions and protocols (Hakiwai 2007, Hooper-Greenhill 1998). Referring to the relationship between Māori identity and taonga (treasures), Arapeta Hakiwai (1996) asserted that, while taonga can be viewed as just objects, historical experience and cultural context establish the artefact as more than that for Māori: as a living phenom- enon, a taonga adds to the ‘storehouse of knowledge’. Likewise, Alfred Gell (1998: 252) argued that these houses “objectify the organic connectedness of historical processes” and act as collective indices of agency. In con- text, whare therefore highlight the material mediation or relationships between people, culture and socio-political environments. The symbolism in whare provides a pivotal connection of Māori to their ancestry, their homelands, their culture and traditions, and so provide a unique view of the world (Carter 2013). The reality, however, is that 80% of Māori reside away from their marae, away from these iconic whare that encapsulate their ancestral histories, and often experience a total disconnect from their whakapapa or kin based relationships (Emery 2008). There- fore, how are Māori cultural identities main- tained in the absence of ‘traditional’ kin based frameworks of knowledge, which are primar- ily based on a mediation between place, built iconic references and tribal social contexts? This paper explores the complex strata of memories and narratives connected to the whare called Hinemihi o Te Ao Tawhito. Through a semiotic analysis of the whare, it seeks to demonstrate how the symbolic mean- ings of the carvings, panels and patterns con- tinue to sustain Māori identities albeit outside of traditional kin-based connections of people to these iconic cultural references. Extending upon Homi Bhabha’s (1994) Third Space this paper examines meanings through ‘discursive conditions of enunciation’ where “the mean- ing and symbols of culture have no primordial unity or fixity; that even the same signs can be appropriated, translated, rehistoricized and read anew” (p. 11). This challenges simple ‘inside/outside’ or ‘Self/Other’ divisions and posits the analysis within “a complex over- lapping landscape of containment” (Engels- Schwarzpaul, 2011, p. 11). The paper offers an indigenous framework of knowledge bringing together the meanings and interpretations of the taonga drawn from two distinct communi- ties connected to this whare, the tribal peoples of Ngāti Hinemihi of Aotearoa and the current communities who now care for the whare in England. This Māori centred approach to un- derstanding how the different taonga, found in whare, align to and represent changing socio- cultural contexts, provides a model of Māori cultural identity through the material mediation of both the traditional tribally inscribed signs, symbols, and patterns of the taonga as well as contemporary meanings and interpretations. Skin-deep: 3D printed surfaces and the end of flatness Yannis Zavoleas + Mark Taylor With the demise of expressionist plasticity it is generally conceded that modernism, pre- sented through the international style, promoted flat surfaces. Walls, roofs, floors and ceilings were defined as planes of constant thickness. The appropriation of Cartesian geometry to de- fine shape and to manage construction resulted in the elegance of modern aesthetics. Flatness was further aligned with a preference towards standardisation, prefabrication and an engineer- ing ideology about mass-production, repetition, efficiency and quality control. Surface was puri- fied to a rectangular plane, which defines space horizontally and/or vertically, whereas establish- ing connections requires cutting the surface by following the geometry, construction logic and aesthetic rules of overall form. This paper aims to examine this concept, and through the use of advanced computational methods test the notion of surface as an elastic, malleable skin, whose shape is produced through interac- tions with data inputs, embodying a continu- ous comprehension about space and form. The works of Parent and Virillio, Candilis, Josic and Woods of Team 10, Doxiadis and late Le Corbusier over the 1960s were late- modernist attempts to break from sheer flatness by defining surface as a responsive terrain that unites spaces together by ad- justing to local conditions. These examples presage data-driven design approaches long before computers entered the workplace. The surface was subdivided by dynamic pat- terns interacting with data inputs to alter its shape. Patterns introduced oblique, grid- nested, mat topologies producing variations as means of negotiating between different sizes, inside/outside, open/closed, public/ private, setting the ground for a “topological” comprehension about surface. These works offered systemic linking between the edifice, the dweller and the environment. Since the 1980s, folding techniques also offered ways to rethink surface as a dynamic entity that hosts diversity within its niches, while main- taining overall continuity. However, the above endeavours were exceptions to the geometric uniformity imposed by modernism’s creed. The introduction of CNC fabrication technolo- gies including full-size printing of buildings has caused a new turn. Designs of any shape may be printed directly from the digital file at real scale, suggesting that “geometricism” may no longer be a prerequisite for on-site construction. The prospect to abandon Car- tesian geometry coincides with an increas- ing interest in natural patterns. For example, the smooth geometry of the human body is captured in the elasticity of the skin as it outlines the inner organs. Other concepts define surface as being “soft,” manipulated via form-finding techniques applied onto malleable materials to express responsive- ness, transitioning and unobstructed fluidity. This paper reports on some fieldwork experi- ments that use dynamic simulation to expand upon surface’s recent topological definitions. The presented prototypes are created by real-time inputs and printing technologies to generate and to materialise form into one self-supporting structure. These experiments invoke earlier studies that treated surface as an integrated element that resolves spatial, aesthetic and structural functions in one topological whole. By elaborating on the no- tion of dynamic patterns, surface acquires elasticity and depth. The notion of “skin-deep” surface is introduced to reflect the changes brought by digital fabrication, further cap- turing the socio-aesthetic implications of space and form outlined in recent decades. References Agamben, G, What is an apparatus? and other essays. Meridian, Stanford, Calif.: 2009. Allen, J., Dadson, P., & Green, T. (2014). Jim Allen: The skin of years. Auckland, N.Z.: Clouds & Michael Lett. Alexander, J. C., Bartmanski, D., & Giesen, B. (2012). Iconic Power: Material- ity and Meaning in Social Life. New York, NY: Palgrave Macmillan. Pell, B. (2010). The articulate surface: ornament and technology in con- temporary architecture. Basel, Birkhauser. Bhabha, H. (1994). The location of culture. London: Routledge. Boffrand, G. (2002). Book of architecture. Burlington, VT: Ashgate. Bottoms, S and Goulish, M (2007): Small Acts of Repair: Perfor- mance, Ecology and Goat Island, London/NY: Routledge Bryant, L. (2011). The democracy of objects. Ann Arbor: Open Humanities Press. Byrt, A. “State house rules: Michael Parekowhai’s sculpture is Auck- land’s new best thing.” 8 February, 2017. http://www.noted.co.nz/culture/arts/ state-house-rules-michael-parekowhais-sculpture-isaucklands-new-best-thing / Butler, S., & Jones, H. F. (Ed.) (1917). The notebooks of Samu- el Butler. New York, NY: E. P. Dutton & Co. Butler, S. (2013). Erewhon, or over the range. Seattle: CreateSpace Independent Publishing. Cadava, E.. (2003) “The guano of history.” In Cities without citizens, edited by Edu- ardo Cadava and Aaron Levy. Philadelphia: Slought Books. Cadava, E.. (1997) Words of light: theses on the photography of his- tory. Princeton, N.J.: Princeton University Press. Cao Chunping. 闽南传统建筑. Xiamen: Xiamen University Press,2005. Carter, L. (2013). Travelling beyond landscapes. In S. Katene & M. Mulholland (Eds.), Future challenges for Māori (pp. 19–28). Wellington, NZ: Huia. Chapman, J. (2005). Emotionally durable design: objects, experi- ences and empathy. London: Earthscan. Chatterjee, A. “Tectonic into textile: John Ruskin and his obsession with the architec- tural surface,” Textile: Journal of Cloth and Culture 7, no. 1 (2009): 68–97. Chen Yingjiao. “闽南红砖厝装饰图案美学原理解析”. Master diss., Xiamen University, 2008. Cheshire, N. “Opinion: Michael Parekowhai’s the Lighthouse,” 10 Febru- ary, 2017. http://architecturenow.co.nz/articles/the-lighthouse-1/ Collocott, E. E. V. (1922). Tongan Astronomy and Calendar. Honolulu, HI: Bishop Museum Press. Cornford, F. M. (1977). Plato’s cosmology: the Timaeus of Plato. Indianapo- lis, IN / Cambridge, UK: Hackett Publishing Company. Cousins, M. “The Ugly” (Part 1), AA Files, No. 28 (Autumn 1994), pp. 61-64. Corner, J. (1999). The agency of mapping. Speculation, critique and inven- tion. In D. Cosgrove (Ed.), Mappings (pp. 213–252). London: Reaktion. Crook, JM. The architect’s secret: victorian critics and the im- age of gravity. John Murray, London: 2003. Debord, G. (2012). Society of the spectacle, London: Bread and Circuses Publishing. DeLanda, M. (2002). Intensive science and virtual philosophy. London: Continuum. Deleuze, G. (1990). The logic of sense. New York. Colombia University Press. Deleuze, G, & Guattari, F. (2000). Anti-Oedipus: capitalism and schizophrenia, vol. 1 (R. Hur- ley, M. Seem, & H. R. Lane, Trans.). Minneapolis: University of Minnesota Press. Deterding, S., Dixon, D., Khaled, R., & Nacke, L. (2011, September). From game design elements to gamefulness: defining gamification. In Proceedings of the 15th international aca- demic MindTrek conference: Envisioning future media environments (pp. 9-15). ACM. Dodds, G., & Tavernor, R. (Eds.). (2002). Body and building: essays on the changing rela- tion of body and architecture. Cambridge, MASS: The MIT Press. Douglas, C. (2011). Off the grid. Infrastructure and transformational space. Access, 30, 45–57. van Eck, C. Art, (2015) Agency and living Presence: From the animated image to the ex- cessive object. Berlin: De Gruyter; Leiden, Leiden University Press. Engels-Schwarzpaul, A.-C. (2011). Restless containers: Thinking interior space - across cultures. Interstices: Journal of Architecture and Related Arts, 12, 11-22. Emery, J. (2008). E hoki ki to maunga, The quintessential elements of home. (Doc- toral thesis). The University of Waikato, Hamilton, New Zealand. Foucault, M. (1980). “The confession of the flesh” (1977 interview). In Colin Gordon (Ed.), Power/ Knowledge. Selected interviews and other writings. Parthenon Books, pp. 194-228. Foucault, Michel. (1984) “Nietzsche, genealogy, history.” Translated by F. Donald Boucha- rd. In The Foucault reader, edited by F. Donald Bouchard and Sherry Simon, 76- 100. New York: Pantheon BooksFrascari, M. (1991). Monsters of architecture: an- thropomorphism in architectural theory. Savage, MD: Rowman & Littlefield. Frascari, M. (2009). Lines as architectural thinking. Architectural Theory Review, 14(3), 200–212. Gallese, V. (2009). Mirror neurons, embodied simulation, and the neural ba- sis of social identification. Psychoanalytic Dialogues, 19(5), 519-536. Gell, A.(1993) Wrapping in images: tattooing in Polynesia. Oxford, Clarendon Press. Gell, A (1998). Art and agency: an anthropological theory. Oxford, Clarendon Press. Gombrich,E. (1984) The sense of order: A study in the psychol- ogy of decorative art .Oxford: Phaidon. Gordon, R. B. (1992). Ornament, fantasy, and desire in nineteenth-centu- ry French literature. Princeton, NJ: Princeton University Press. Grabar, O. (1990). From Dome of Heaven to Pleasure Dome. The Jour- nal of the Society of Architectural Historians , 15-21 Grosz, E. A. (2017). The incorporeal: ontology, ethics, and the limits of materialism. New York. Columbia University Press. Hale, J. (2014a). Cognitive tectonics: from the prehuman to the posthuman. In A. Beim & U. S. Madsen (Eds.) Towards an ecology of tectonics (pp. 197-203). Fellbach, DE: Edition Axel Menges. Groves, R. (January 01, 2016). From statue to story: Ovid’s Metamorphosis of Hermaphroditus. Classical World, 109, 3, 321-356. Hale, J. (2014b). Materiality, movement and mean- ing: architecture and the embodied mind. Paper presented at the Design and planning the built environment for human well-being conference, University of Oulu, Finland. Harman, G. (2013). Undermining, overmining, and duomining: a critique. In J. Sutela (Ed.), ADD Metaphysics (pp. 40–51). Aalto, Finland: Aalto University Digital Design Laboratory. Hakiwai, A. (1996). Maori society today: welcome to our world. In D. C. Starzec- ka (Ed.), Maori art & culture (pp. 50-68). Auckland, NZ: David Bateman. Hakiwai, A. (2007). In D. Sully (Ed.), Decolonizing conservation: Caring for Maori meet- ing houses outside New Zealand. Walnut Creek, California: Left Coast Press Inc. Hersey, G. (1989). The lost meaning of architecture: speculations on ornaments from Vit- ruvius to Venturi. Cambridge, MASS / London, England: The MIT Press. Hirst, P. (2005) Space and power: politics, war and architecture. Cambridge: Polity. Hooper-Greenhill, E. (1998). Perspectives on Hinemihi: a Maori meeting house. In T. Brarringer & T. Flynn (Eds.), Colonialism and the object (pp. 129-143). London and New York: Routledge. Jackson, N. “Clarity or camouflage? The development of constructional polychromy in the 1850s and early 1860s.” Architectural History 47 (2004): 201-226. Jackson, N. “Christ Church, Streatham, and the rise of constructional poly- chromy.” Architectural History 43 (2000): 219-252. Jambet, C. (2006). The Act of Being: The Philosophy of Revelation in Mul- la Sadra. Michigan: University of Michigan Press. Kahn, J. G. (2008). Ritual house posts, and “house societies” in Polynesia: model- ing inter- and intra household variability. Rapa Nui Journal, 22(1), 14-29. Keshavarzian, A. (2007) Bazaar and state in Iran: the politics of the Tehran marketplace. Cam- bridge, UK: Cambridge University Press. Latour, B. (1981). Visualisation and cogni- tion: drawing things together. In H. Kuklick (Ed.), Knowledge and society. Studies in the sociology of culture past and present. A research annual (Vol. 6, pp. 1–40). Krämer, A. (1994). The Samoa Islands: an outline of a monograph with particular consider- ation of German Samoa (T. Verhaaren, Trans., Vol. 1). Auckland, NZ: Polynesian Press. Latour, B., & Yaneva, A. (2008). Give me a gun and I will make all buildings move. An ANT’s view of architecture. In R. Geiser (Ed.), Explorations in architecture. Teaching, design, research (pp. 80–89). Basel, Switzerland: Birkhäuser. Lipson, H. and Kurman, M. (2013) “A Machine That Can Make Almost Anything” in Fab- ricated: The new world of 3D printing.Indiana: John Wiley & Sons Lloyd Thomas, K. (2007) Material matters: Architecture and ma- terial practice New York: Routledge. Mallgrave, H. F. (2013). Architecture and embodiment: the implications of the new sci- ences and humanities for design. Abingdon, U.K.: Routledge. Marin, L. (1984). Utopics: The semiological play of textual spaces (R. A. Voll- rath, Trans.). Amherst, NY: Humanity Books. Marin, L. (1993). Frontiers of utopia: Past and present. Critical Inquiry, 19/3, 397-420. Masheck, J. (2001) “The vital skin: Riegl, the Maori and Loos,” in Fram- ing formalism: Riegl’s work. Critical Voices in Art, Theory and Cul- ture, ed. Saul Ostrow. Amsterdam, G+B Arts International. Meillassoux, Q. (2012). Iteration, reiteration, repetition: a speculative analysis of the mean- ingless sign. Retrieved August 1, 2015, from http://philpapers.org /rec/MEIIRR Melbourne, H. (1991). Whare Whakairo: Maori literary traditions. In G. McGregor & M. Williams (Eds.), Dirty Science: Aspects of language and litera- ture in New Zealand (pp. 129-141). Auckland: Oxford University Press. Miller, J. H. (1995).Topographies. Stanford, CA: Stanford University Press. More, T. & Baker-Smith, D. (Ed.) (1516/2012). Utopia (D. Baker-Smith, Trans.). London, UK: Penguin. Nancy, J-L. (2005). The ground of the image (J. Fort, Trans.). New York, NY: Fordham University Press. Norrman, R. (1986). Samuel Butler and the meaning of chiasmus. New York, NY: Palgrave. Ovidius, N.P., Kenney, E.J., & Melville, A.D. (2008) Metamorpho- ses. Oxford [u.a.: Oxford University Press. Papapetros, S. (2010). MICRO/MACRO: Architecture, Cosmol- ogy, and the Real World. Perspecta, 42, 108-125. Papapetros, S. (2010). The legacy of Gottfried Semper’s 1856 lecture on adorn- ment. Anthropology and Aesthetics, 57/58 (Spring /Autumn), 309-329. Papapetros, S. (2012). On the animation of the inorganic: art, architecture, and the ex- tension of life. Chicago ; London ; University of Chicago Press. Papapetros, S. (2013). From ornament to object to surface. Oxford Art Journal, 0(0), 1-4. Payne, A. (2012). From ornament to object: genealogies of architec- tural modernity. New Haven, CT: Yale University Press. Payne, A. (2014). Living stones, crying walls: the dangers of enlivenment in ar- chitecture from Renaissance putti to Warburg’s “Nachleben”. In C. van Eck, J. van Gastel, & E. van Kessel (Eds.), The secret lives of art- works (pp. 308-339). Leiden, Belgium: Leiden University Press Pell, B. (2010) The articulate surface: Ornament and technology in con- temporary architecture Basel: Birkhäuser. Pérez-Gómez, A., & Pelletier, L. (1997). Architectural representation and the perspective hinge. Cambridge, MA: MIT Press. Picon, A. “Architecture, Innovation and Tradition,” Architectural Design 83, no. 1 (January 1, 2013). Picon, A. Ornament: The Politics of Architecture and Subjectivity. AD Primers. Wiley, Chichester: 2013. Pietropaolo, M. (January 01, 2011). Metamorphic composition in Ovid’s treatment of Salmacis and Hermaphroditus. Mouseion: Journal of the Classical Association of Canada, 11, 3, 279-294. Pinkus, K. “Alchemical mercury: a theory of Ambivalence”. Stan- ford: Stanford University Press, 2010. Powell, T., & Fraser, J. (1892). The Samoan story of creation: a tala. The Journal of the Polynesian Society, 1(3), 164-189. Rampley, M. (1997). From Symbol to Allegory: Aby Warburg’s Theory of Art. artbulletin The Art Bulletin, 79(1), 41-55. Robinson, S., & Pallasmaa, J. (Eds.). (2015). Mind in architecture : neuroscience, embodiment, and the future of design. Cambridge, MA: MIT Press. Refiti, L. A. L. (2015). Mavae and Tofiga: Spatial Exposition of the Samoan Cos- mogony and Architecture. (PhD), AUT University, Auckland. Retrieved from https://aut.researchgateway.ac.nz/handle/10292/9248 Ryan, C., Browning,W., Clancy, J., Andrews, S. and Kallianpurkar, N., (2014) “Biophilic Design Patterns: Emerging nature-based parameters for health and well-being in the built en- vironment,” ArchNet-IJAR : International Journal of Architectural Research 8, no. 2 Rykwert, J. (1996). The dancing column: on order in architecture. MIT Press. Schacter, R. (2014): Ornament and Order: Graffiti, Street Art and the Parergon, London/NY: Routledge Schumacher, P.(2009) “Parametric patterns,” AD Architectural Design – Pat- terns of Architecture, Vol 79, No 6, November/December Shore, B. (1988). Mana and tapu. In A. Howard & R. Borofky (Eds.), Developments in Poly- nesian ethnology (pp. 137-173). Honolulu, HI: University of Hawaii Press. Scru- ton, R. (1979). The Aesthetics of architecture. London, UK: Methuen & Co. Ltd. Street, G. Brick and marble in the middle ages notes of Tours in the North of Italy. 1855. http://gutenberg.polytechnic.edu.na/4/6/3/2/46326/46326-h/46326-h.htm. Tafuri, M. (1978) “II soggetto e la maschera : una introduzione a Terragni/ The sub- ject and the mask: an introduction to Terragni”, Lotus 20, Sept. Taylor, M. (November/December 2009). Relentless patterns: the im- mersive interior. Architectural Design, 70(6), 43-47. Te Awekotuku, N; Nikora, Linda Waimarie,(2007) Mau moko: the world of Māori tattoo. North Shore, N.Z., Penguin Viking. Teyssot, G. (2013) A topology of everyday constellations. Writing Ar- chitecture Series. Cambridge, Mass. : MIT Press. Thomas, N; Cole, A; Douglas, B. (2005) Tattoo: bodies, art and ex- change in the Pacific and the West. London, Reaktio Thompson, R. architect [Collection of two articles on two projects, the Puukengu Maori Edu- cation Centre at Carrington Polytechnic and a housing complex at Rata Vine, Wiri for the Housing Corporation of New Zealand.]. (1995). Transition, 47, 20-31. Tomlinson, M., & Tengan, T. P. K. (2016). Introduction: Mana Anew. In M. Tomlin- son & T. P. K. Tengan (Eds.), New mana : transformations of a classic con- cept in Pacific languages and cultures (pp. 1-36). Acton ACT: ANU Press. Valeri, V. (1985). Kingship and sacrifice: ritual and society in ancient Hawaii (P. Wissing, Trans.). Chicago, ILL: University of Chicago Press. Van Zanten, D. (1977) The architectural polychromy of the 1830’s. New York: Garland Pub.. Virilio, P. (1991) The lost dimension. New York, N.Y: Semiotext(e). Vischer, R. (1994 [1873]). On the optical sense of form: a contribution to aesthetics (H. F. Mall- grave, Trans.). In H. F. Mallgrave (Ed.), Empathy, form, and space: problems in German aesthetics 1873-1893 (pp. 89-124). Santa Monica, CA: Getty Publication Programs. Warnier, C., Verbruggen, D., Ehmann, S., and Klanten,R., (2014) eds., Printing things : visions and essentials for 3D printing Berlin: Gestalten, 38-39. Wiseman, B. & Paul, A. (Eds.) (2014). Chiasmus and culture. New York, NY & Oxford, UK: Berghahn Press. Wu Xing. “传统建筑营建中的废旧材料再利用案例研究”. Master diss., Tianjing University, 2013. York, P (2006) Dictator style: lifestyles of the world’s most colour- ful despots. Chronicle Books, San Francisco. Zaera-Polo, A. (2008). The politics of the envelope. Log (13/14), 193-207. Biographies: Johanna Abril is a first year student of the Master of Architectural Studies at Carleton University. She received a bachelor’s degree in Architecture and a Restoration diploma at the University of Cuenca in Ecuador. Her recent publication include Heritage inventory as the base for a monitor- ing system in the World Heritage City of Cuenca (SAHC-KU LEUVEN, 2016) and Documenta- tion Techniques for Registration and Monitoring (LlactaCamp2.0, 2015). Her current research interests include the historical role of ornament through the work of architects and craftsmen. Anthony Brand completed his Bachelors of Architecture and Diploma of Architecture at the University of Nottingham (UK).After coming to New Zealand in 2009 and working with Habitat for Humanity, Anthony joined the University of Auckland in 2011, where he has recently completed his PhD. entitled “Touching Architecture: a felt-phenomenology of affec- tive atmospheres and embodied encounters”. His thesis elucidates the ways in which we touch (and are touched, affected and effectuated) by our surroundings.Anthony also teaches architectural design studios and supervises Masters Theses at the University of Auckland. Angelo Bruno has graduated with a Bachelor of Architectural Studies from the University of Auckland, where he is currently teaching architectural design while completing the Master of Architecture. His research interests focus on gaming and public space in the current architecture and urban transition. Rachel Carley completed her PhD in Architecture in 2006. Her thesis, Whiteread’s Sound- ings of Architecture, moulds a series of contours between the British artist Rachel Whit- eread’s sculptures and architectural discourse. Soundings are taken in order to explore the complex ways in which the artist enlists architectural drawing and modelling prac- tices to shed light on the rich interior lives of quotidian spaces and typological struc- tures frequently overlooked. Current post-doctoral research critically examines the use of constraint as a pedagogical tool in interior design studio, and the critical appraisal of surface treatments in contempoarary interior, fine art and design practices. Rachel is cur- rently employed a a parttimetutor in the Spatial Design Deparment at AUT University Tanyalak Chalermtip has graduated with a Bachelor of Architectural Studies from the University of Auckland, where she is currently teaching architectural design while complet- ing a Master of Architecture. Her research interests focus on utopia and play in the city Anuradha Chatterjee completed her M.Arch and PhD from the University of New South Wales. Anu has founded online refereed journal, The Eighth Lamp: Ruskin Studies Today. She has authored three books (John Ruskin and the Fabric of Architecture, Routledge, forthcom- ing in 2017; Built, Unbuilt, and Imagined Sydney, COPAL Publishing, 2014; and Surface and Deep Histories, Cambridge Scholars Publishing, 2013) and chapters on surface in two forth- coming Routledge anthologies. Anu’s recent grants include: Publication Grant, 2016 and Research Support Grant, 2013, Paul Mellon Centre for Studies in British Art; Stones of Ven- ice Research, Lancaster University, 2014; and David Saunders Founders Grant, SAHANZ, 2008. Her research interests include architectural surface, dress, textiles, and Ruskin. Andrew Douglas at the School of Art+Design at Auckland University of Technology. He is coordinator of the Urban Practices undergraduate minor, a member of the TurnSpace Col- lective, andcontributor to the Making Public research cluster. He is also an Executive Edi- tor of Interstices: Journal of Architecture and Related Arts, and a trustee of the enigma: he aupiki Trust, and the Greg Bowron Trust, along with being a director of the Interior Design Educators Association and an editorial advisor to the IDEA Journal. He has practiced archi- tecture in both Auckland and London and maintains specialty skills in critical urban think- ing and design particularly. He has pursued postgraduate studies at The University of Auck- land and Goldsmiths, University of London. His research ranges across fields associated with urban and Greek philosophy and history, aspects of poststructuralist thinking—particularly the work of Gilles Deleuze and Felix Guattari—critical perspectives on socio-spatial prac- tice, and gender and sexuality as these pertain to literature, cinema and the urban imaginary. His doctoral research investigated observation and reflectivity in modernity and its linkages with human motility in European urbanism since the seventeenth century. His current re- search includes the role of affect in emerging forms of publicness and governance, colonial- urban formations in New Zealand, and various aspects of an urban-interior synthesis Carl Douglas is a Lecturer in Spatial Design at AUT University’s School of Art and De- sign. His research concerns public space under the prevailing infrastructural spatial para- digm of the 21st century city. Infrastructure has been interpreted as both corrosive to public space and constitutive of it. He treats it as a mode of spatial operation that an- ticipates the future as a field of contingent possibilities rather than a fixed image. Previ- ous research has studied competing spatial orders in revolutionary Paris, and discussed archaeological sites as scenes of architectural production. He is currently working on a series of speculative proposals for Auckland’s Māngere Inlet, investigating its pos- sible futures and potential reconfigurations. Contact Carl at carl.douglas@aut.ac.nz Tina Engels-Schwarzpaul is Professor in Spatial Design and Postgraduate Studies at Auckland University of Technology - Te Wānanga Aronui o Tāmaki Makau Rau, Aotearoa/New Zealand. With Leali’ifano Dr. Albert L. Refiti, she leads Pacific Spaces (http://www.pacificspaces.com/), a research cluster at the School of Art and Design which explores space from Pacific perspec- tives. Details about research interests and publications at http://www.aut.ac.nz/profiles/art- -design/professors/tina-engels-schwarzpaul and aut.academia.edu/TinaEngelsSchwarzpaul Farzaneh Haghighi is a lecturer in Architecture (Theory and Criticism), at the School of Architecture and Planning, the University of Auckland. She holds a PhD in Architec- ture from The University of Sydney, Australia. Her research is concerned with the in- tersection of political philosophy, architecture and urbanism. Currently, she is explor- ing the architecture of the act of exchange (of words, things, bodies) by deploying the political philosophy of Michel Foucault through her teaching and writing. Dorita Hannah is Research Professor of Interdisciplinary Architecture, Art & Design at the University of Tasmania (Australia) and Adjunct Professor of Stage & Space with Aalto Univer- sity (Finland). Working between the spatial, visual and performing arts, her practice-led research focuses on live performances, installations and exhibitions as well as specializing in theatre architecture. Focusing on spatial performativity, Dr Hannah is completing Event-Space:Theatre Architecture & the Historical Avant-Garde, to be published by Routledge Press (2017). Natalie Haskell is a designer and higher degree researcher at Griffith University, Australia. Re- search areas include investigating the intersection of materiality and digital fabrication technolo- gies and the impact on design practice to create customised and localised products and solutions. Susan Hedges is a Senior Lecturer in Spatial Design in the School of Art and De- sign, Auckland University of Technology, New Zealand. Her research and publication in- terests embrace an interest for architectural drawing, interior architecture, notation, dance, film and critical theory in regarding drawing and visual culture. These seeming- ly divergent fields are connected by an interest in the relationship that exists between the body condition, surface, pattern, architectural notation and visual images. Naibin Jiang graduated from University of Hawaii at Manoa, and now is an Assistant Professor in Dept. of Architecture, Qingdao Technological University. Naibin has been focused on Chinese traditional and regional architecture for years through research and critical exploration on its materials, construction technologies, and its relationships with local environments, history, ethnic culture and traditional philosophies, and at the same time, the preservation and inheritance of its spiritual meaning and construction methods. Naibin has been active in international forum and magazine, advocating for the preservation and reestablishment of traditional architecture. Ross Jenner teaches at the University of Auckland. He has a PhD from the University of Pennsylvania, has practised in the UK, Finland, Switzerland, and New Zealand, taught at vari- ous institutions in Australia and the US, was Commissioner for the NZ Section of the XIX Triennale di Milano, published in several books and journals, and is an editor of Interstices. Okusitino Māhina is now affiliated with Vava‘u Academy for Critical Inquiry & Applied Research as Founder-Director and Tonga International Academy, where he is Professor of Art, Culture and Critical Anthropology. Hūfanga is his tehina young brother chiefly title for his service to educa- tion and art in the community. He holds a BA in Sociology and Anthropology and an MA (Hons) in Anthropology from the University of Auckland (UoA) (1983; 1986) and a PhD in Pacific His- tory from The Australian National University (1992). He has won a number of prestigious awards, which include Creative NZ Pacific Heritage Arts Award for Poetry (2007). Hūfanga taught Moana Pacific Political Economy and Moana Pacific Arts at Tonga‘s ‘Atenisi University and Aotearoa NZ‘s Massey University – Albany and UoA for many years. Hūfanga was appointed Director of ‘Atenisi Institute, where he was Dean of ‘Atenisi University and Professor of Tongan Studies1997-99. He has authored, co-authored and co-edited some ten books (including his book of Tongan poetry, with some translated into English and Maori) and co-guest-edited two journal‘s Spe- cial Issues, with one on the soon-to-be-out Tā-Vā Theory/Philosophy of Reality, as well as many book chapters and journal articles. Hūfanga is co-authoring with a colleague a book on Tongan arts from Tongan perspectives. He has been actively engaged (now with many others) for some sixteen years in the development and refinement of the new general Tā-Vā Theory/Philosophy of Reality, Tongan for time-space, for which he is writing a book about. His research interests include, inter alia, time and space, art and literature, culture and history, economic development and political governance, education and inquiry, and trans-cultural aesthetics and transcultural psychology, as well as reviving ancient Tongan musical instruments, including the minor tune. Manfredo Manfredini is a director and lecturer at the School of Architecture of the Uni veristy of Auckland, New Zealand and Honorary Professor of Architecture at the Hunan Univeristy, Changsha, China. He studied architecture and urbanism (MSArch and PhD) in Milan and Berlin. He published more than 40 journal and book papers and received pres- tigious awards, such as the first price at the Biennale di Venezia, Sironi Group. He taught and gave lectures in leading European and Asian universities, such as Milan Technical Uni- versity, University of Stuttgart, Tsinghua University and Chinese University of Hong Kong. Sēmisi Fetokai Potauaine was born and raised in Tonga, where he successfully completed both his primary and secondary schooling. Sēmisi grew up in a rich cultural environment, where he had an early exposure by way of “critically lived experience” to a number of Tongan material, perfor- mance and fine arts, ranging from tool-making, house-building and kafa-sennit-plaiting through music, oratory and dance to mat-weaving, bark-cloth-making and traditional healing and many others. He moved to New Zealand in pursuit of tertiary education and research. Sēmisi holds several qualifications: NDAT diploma in architectural technology from Unitec (2000) and BAS, BArch (Hons) degrees 2007, and a MArch (Hons) degree 2011 from the University of Auckland. Sēmisi has held a variety of positions in the creative industry, which includes working as a land- surveying and civil engineering technician and now an Architecture, Art and Design consul- tant. Sēmisi as a Master of Architecture supervised and examine thesis at various Universities. He works concurrently as a multi-media artist, across a number of arts, notably architecture, sculpture, painting, weaving and computer graphic designing. Sēmisi won a coveted Common- wealth Connections International Arts Residencies award for 2009, which he had taken up at the Cambridge University Museum of Archaeology and Anthropology, Cambridge, UK, 2010. He has co-authored a book and book chapters, and authored journal articles, as well as the principal il- lustrator of a new Pacific book series on children’s stories. His research interests centres around time and space, culture and language, theory and practice and, art and literature amongst others. Albert L. Refiti is a researcher and lecturer in Art and Design ethnography and material cul- ture with a particular focus on Pacific spaces, art and architecture. He is currently a senior lecturer at Auckland University of Technology School of Art and Design, New Zealand. Albert has written for a number of journals and books on indigenous knowledge and identity forma- tion in architecture and art of the Asia Pacific region. After I completed a PhD on the anthropol- ogy of Samoan architecture and cosmogony in 2014 he is now researching the links between traditional Pacific thought and contemporary art and architecture in the Pacific diaspora. Nicholas Skepper is a practicing architect, and co-director of zuzana&nicholas architects, a small, Brisbane based practice engaged in commissioned work, competitions, research and exhibitions. The practice has been recognized and awarded for its competition work and residential architecture, including a short-listing in the international ideas competition for the Royal Adelaide Hospital Site in 2013. Nicholas recently completed a PhD by practice at RMIT that examined concerns of making processes and materials in architectural discourse. Nooroa Tapuni is a multidisciplinary artist currently lecturing in AUT Spatial de- sign department. Tapuni’s current research area seeks to map indigenous epistemol- ogy with emergent technologies with a particular focus on interactive installation. Mark Taylor is Professor of Architecture at University of Newcastle, Australia. He cur- rently holds an Australian Office of Learning and Teaching Grant, and an Australian Re- search Council Discovery Grant (2017-19). His writing on the interior has been widely pub- lished in journals and book chapters including co-editor Intimus: Interior Design Theory Reader (2006), editor Interior Design and Architecture (2013), co-editor Designing the French Interior (2015) and co-editor Flow: Interiors, Landscapes and Architecture in the Era of Liquid Modernity, (2017). He has published in Architectural Design (AD), Interiors: Design, Architecture, Culture, and IDEA Journal, and book chapters in Diagrams of Ar- chitecture (2010), Domestic Interiors (2012), and Architectures of Display (2017). Keri Wikitera is a lecturer/researcher working in the School of Hospitality and Tourism at AUT University. Her doctoral research focussed on how Māori identities can be found and nurtured outside of what are considered traditional Māori places. Her Māori tribal affiliation is Tūhourangi of Te Arawa. This tribe is from the Rotorua region and are recognised as one of the nation’s principle drivers of Māori tourism. As such her personal and academic inter- ests are specifically positioned within promoting and enhancing Māori cultural identity, in- tercultural exchange, the tourism industry, indigenous history and knowledge systems. Yannis Zavoleas is a graduate of MIT, UCLA and NTUA, and is currently based at The Univer- sity of Newcastle, Australia, where he teaches theoretically informed digital design techniques and processes. His experimental design research has been widely published and exhibited. In 2014, he was awarded the PVC’s Award for Excellence in Research Creative Works. Dr Za- voleas is author of Machine and Network as Structural Models in Architecture (2013), editor Surface: Digital Materiality and the New Relation between Depth and Surface (2013), and has published papers in ASA, EAAE, CAADRIA, and eCAADe. Recent book chapters are also in- cluded in Architectures of Display (2017) and Perception in Architecture: Here and Now (2015). Notes Brochure design: Andrew Lowe and Susan Hedges We gratefully acknowledge contributions from he NICAI Conference and Cre- ative Event Fund and the AUT School of Art and Design Research Fund Our thanks to all who have generously contributed advice and time: Mark Taylor, Sue Gallagher, Andrew Douglas, Derek Kawiti, Nooroa Tapuni, Sam Spurr, Suzie Attiwell, Stan Fung, Adrian Lowe, Mark Dorrian, Gvoor Hartoonian, Christoph Schnoor, Daniel Naegele, Diedre Brown, Paul Memmet, Carl Douglas, Robin Skinner, Sarah Treadwell, Simon Twose, Julieanna Preston, Sandra Loschke, Charmaine I’Liau, Jake Culbertson, Farzaneh Haghighi, Peter Wood, Mark Jackson, Paul Walker, Jonathan Lamb, Keri Wikitera and others.