matzine

MATZINE #13 ISSUE LAUNCH & DEBATE

Posted in Announcements by stephen on August 13, 2013

mzine poster-04

We are pleased to invite you to the launch of MATZINE #13 – JARGON

For this event, Matzine is hosting a debate centred around jargon and how it is used to communicate design in public projects.

Panel
For JARGON – Daisy Froud AOC & Indy Johar 00:/
Against JARGON – Crystal Bennes & Charles Holland FAT

Chaired by Owen Pritchard Icon Magazine

Wed 21st August, 7pm

38 Hoe Street
Walthamstow,
E17 4RT

Space is limited so please RSVP to submissions.matzine@gmail.com to guarantee a place.

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matzine #13 Open Call For Submissions – Deadline Extended

Posted in Announcements by Ian Pollard on July 11, 2013

The open submissions window has been extended for this latest edition to the 27th of July.

Thanks to all those who have already contributed; the editors have enjoyed the various musings, provocations and analyses offered in response to the theme of ‘Jargon’, and look forward to receiving more in advance of the new deadline. We encourage those interested to contact us at submissions.matzine@gmail.com with original pieces, ideas and questions. From the expert to the dilettante, from the comic to the poetic – by way of seriousness – all will be considered for inclusion.

Esme Fieldhouse & Ian Pollard

matzine #13 ‘Jargon’ – Food for Thought

Posted in Announcements, Food for Thought by esmefieldhouse on June 24, 2013

The deadline for submissions to matzine #13 is fast approaching (10th July), so about time for some food for thought on jargon from the editors .

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When launching the 2013 Serpentine Pavilion – designed by Japanese architect Sou Fujimoto – programme director Hans Ulrich Obrist described the work as “an oscillation between the finished and unfinished, the organic and the geometric’ and a “utopic cloud city”; meanwhile, in the artist’s own description, a “new form of environment will be created, where the natural and the man-made merge; not solely architectural nor solely natural, but a unique meeting of the two”.

With the use of language in this register, both commissioner and ‘artist’ seek to augment – not merely describe – the artefact in question. That writing on architecture and art more often seeks to create consensus than to ‘communicate’ ideas relating to the work is no surprise; but to proclaim that this – technically impressive – assemblage of 20mm steel tubing can create a ‘new form of environment’ is a lofty intention.

The intention here is not to be pedantic – rather, to note an example of the engagement between the reality of artefact (building, photograph, drawing, installation), and the means of its basic – or extended – interpretation, in text and imagery. The language employed in the description of architecture is notoriously artificial – used to further the illusion of single authorship, or to ‘shoehorn’ a piece of architecture into a history and tradition to which it does not belong. The archetypical artist’s statement takes a different form – but it is one not without a similar agenda.