UOU Scientific Journal / CALL Issue #7 Liminalities
Call for contributions
Editors in chief: Charlotte Erckrath + Sarah Stevens
05 October 2023 Call opens
01February 2024 Full paper submission
01 March 2024 Outcome of double-blind peer review process
01 April 2024 Final submission of completed papers
Issue #7 / Liminalities
This call for edition 7 of the UoU Journal invites contributions that explore liminalities in architectural and spatial design. This call serves to introduce the theme, but contributors are encourages to submit material that critically questions, explores and experiments with the subject area within its widest sense through all forms and scales.
Our cognition expands out within a dynamically interwoven process of understanding and acting, whilst the world constantly acts upon us. It extends into the tools we use, as our mind begins to perceive through them, reaching out into the environment. The spaces we inhabit become frameworks to support our understanding of ourselves; hooks on which to hang the memories on which our identities are built. In this way our mind co-opts our surroundings as a cognitive and mnemonic support system. As a species we evolved through our engagement with tools as Don Ihde (i dee) & Lambros Malafouris have discussed (Ihde, Malafouris, 2019). With spaces unfolding as extensions of ourselves, our inhabited desks become elements in a supportive cognitive ecosystem, and our drawings and models emerge as tools through which we think.
Liminalities aims to discuss this fluid and transitional character of our engagement with the world, and how this reflects into our designerlypractice, our understanding of space and the process of designing.
Clarke and Chalmers ask “Where does the mind stop and the world begin?” and speak of “a coupling of biological organism and external resource” proposing that, “once the hegemony of skin and skull is usurped, we may be able to see ourselves more truly as creatures of the world” (Clarke, Chalmers, 1998, 7-18). Malafouris discusses the entanglement of mind and matter, how things“ ‘gather’ space and time” (Malafouris, 2014, 142). He writes “We think ‘with’ and ‘through’ things, not simply ‘about’ things. In that sense, things occupy the middle space in between what are usually referred to as mind and matter” (Malafouris, 2020, 3). He talks of “thinging” as opposed to “thinking”, and writes “Thinging incorporates time-varying and culture-specific bodily techniques; it also extends to sensory and cognitive prostheses and interfaces of any kind” (Malafouris, 2014, 143). A dynamic interacting in a world that is acting upon us.
Within architecture we are constantly thinking through tools. Tim Ingold further discusses implementations of this entanglement in terms of the design process, he writes:
“In the art of inquiry, the conduct of thought goes along with, and continually answers to, the fluxes and flows of the materials with which we work. These materials think in us, as we think through them. Here, every work is an experiment [...] You try things out and see what happens. Thus the art of inquiry moves forward in real time, along with the lives of those who are touched by it, and with the world to which both it and they belong.” (Ingold, 2013, 6-7)
Our drawings and making extend us into the fictions of spaces yet to be. If we begin to see our models not as something beyond ourselves, but instead employ immersive design practices, might this open up routes to an immersive architecture? Might a knowing implementation offer further potential? Jonathan Hill writes:“A dialogue can exist between what is designed and how it is designed, between design intention and working medium, between thought, action and object – building the drawing rather than drawing the building. [...] In building the drawing, any instrument is a potential drawing tool that can question the techniques of familiar building construction and the assumed linearity of design, so that building and drawing may occur in conjunction rather than sequence.” (Hill, 2005,17)
Might we realise ourselves as participants; part of spatial, design and/or environmental ecologies, bringing situations into being? Through an embrace of our geographical natures might we begin to uncover routes towards analogue and/or digital spatial engagement, that interweaveand entwine rather than divide or simulate; enhancing and extending spatial experience? Through this might we begin to unveil opportunitiesfor immersive interfaces? Might an embrace of our entwined nature draw forward new architectures, new spatial experience? Might it expand our idea of tools and our dialogues with both them, ourselves and our architectures? Might this start to realign how we consider our inhabitation and construction of architectures, or indeed what that word might mean or encompass?
Scope of the issue:
Liminalities sets out to engage our entangled nature, exploring implications across drawing, design, research, education, and architectural space. Authors are encouraged to submit studies, essays, and works through the proposed but not limited topics:
Reflections of entanglement in spatial experience (analogue and/or digital)
- Discourse between virtuality and embodiment (digital and/or analogue).
- Engagement of body/mind and space
- Works which engage dynamic interweavings of spaces, times and places.
- Works which employ strategies of spatial
Design processes within an entangled setting
- Methodologies which evolve ways of working, and works that respond to liminalities.
- Dialogic/responsive conversations within designing, drawing and/or making for constructing
CLARK, Andy and CHALMERS, David, 1998. The Extended Mind. In: Analysis. Vol. 58, no. 1, pp. 7–19.
HILL, Jonathan, 2005. Building the Drawing. In: Architectural Design. Vol. 75, no. 4, pp. 13–21. DOI 10.1002/ad.98.
IHDE, Don and MALAFOURIS, Lambros, 2019. Homo faber Revisited: Postphenomenology and Material Engagement Theory. In: Philosophy & Technology. Vol. 32, no. 2, pp. 195–214. DOI 10.1007/s13347-018-0321-7.
INGOLD, Tim, 2013. Making: anthropology, archaeology, art and architecture. London; New York: Routledge. ISBN 978-0-415-56722-0.
MALAFOURIS, Lambros, 2014. Creative thinging: The feeling of and for clay. In: Pragmatics & Cognition. Vol. 22, no. 1, pp. 140–158. DOI 10.1075/pc.22.1.08mal.
MALAFOURIS, Lambros, 2020. Thinking as “thinging”: Psychology with things. In: Current Directions in Psychological Science. Vol. 29, no. 1, pp. 3–8. DOI 10.1177/0963721419873349.
About the journal.
About the journal
UOU Journal is the scientific double-blind peer-reviewed journal of UNIVERSITY of Universities and investigates the sharing of intercultural interests explored in international schools of architecture in close connection with the arts. Every issue underlines a specific topic addressed by one of the universities involved in the Research Project. Therefore, we encourage contributions related either to the result of pedagogical experiences and, or, contributions that have emerged from other research in and around the topic of Liminalities in the disciplines of architecture, art, urbanism and associated areas of study.
UOU Scientific Journal is indexed by:
- The Norwegian Register for Scientific Journals, Series and Publishers - LEVEL 1
- Dialnet - online index of scholarly information on Spain and Latin America.
- DOAJ - International Directory of Open Access Journals.
- SHERPA / RoMEO - International Directory for publishers and scientific journals in open access.
UOU Journal is looking for:
- researchers’ contribution in form of Critical essays and scientific Articles in the section “WRITINGS”.
- artists, practitioners or students contribution in form of Projects that will be included in the section “ATLAS”.
Editors in Chief Issue #5:
- Charlotte Erckrath, Associate Professor, Bergen School of Architecture / firstname.lastname@example.org
- Sarah Stevens, Principal Lecturer, University of Brighton / email@example.com
Associate Editors Issue #5:
- Jerzy Łątka, Wroclaw University of Science and Technology (Poland) / firstname.lastname@example.org
- Joaquín Alvado Bañón, Professor Titular, Alicante University (Spain) / email@example.com
- Maria Luna Nobile, Associate Professor UMEA University (Sweden) / firstname.lastname@example.org
- Mauricio Morales Beltrán, Yasar University Izmir (Turkey) / email@example.com
- Michael Devereaux, Associate Professor, University of the West of England (UK) / firstname.lastname@example.org
- Miguel Luengo Angulo, European University Madrid, (Spain) / email@example.com
- Javier Sánchez Merina, Professor Titular Alicante University (Spain) / firstname.lastname@example.org
Issue #7/ Submission guidelines.
Articles should be written in standard (UK) English. Only original work will be considered for publication, i.e. work produced by the author/s which has not yet been published elsewhere and which is not currently under review by any other journal or similar academic publication, online or otherwise.
UOU Journal accepts manuscripts in different submission types: critical essays and scientific articles. Articles are primarily text based, while students’ project and artistic works are primarily image based.
- Critical Essays should be grounded in relevant discourse, offer an original and critical contribution of a
theoretical or a more empirical nature as a response to a research question or proposition and can be
supported by appropriate visual apparatus. Length 2,000 - 4,000 words including notes, captions, and
references and including the abstract written both in (UK) English and in the mother tongue language.
- Articles should include a consistent focus, clear definition of the research framework, and give a deep
understanding of the subject or topic described, including findings, reflections and conclusions. Length 4,000 -
8,000 words including notes, captions, and references and including the abstract written both in English and in
the mother tongue language. As a guide, articles should consist of the following sections: Introduction,
Background / the-state-of-art, Materials and methods, Results, Discussion and Conclusions.
- Visual Essays, Students’ Projects and Artistic Works should include images, schemes and/or diagrams
through an argumentative and not illustrative nature. (Images should be submitted in a A4 PDF format in high
resolution (300 dpi) and accompanied by a text as an introductory abstract written both in English and in the
mother tongue language of a maximum of 500 words.
Critical Essays and scientific Articles undergo a process of double-blind peer review prior to acceptance for
publication. All contributions should be submitted through the online platform of the UOU Journal:
Submitted manuscripts should be fully anonymized: remove full name and affiliation; remove references to funding sources; do not include acknowledgements; remove your name from file name; and make sure that document properties have also been anonymized.
Manuscripts should be submitted online in Microsoft Word Format (.docx), and in case of proposals using symbols (e.g. phonetic transcriptions), you are kindly requested to add a PDF version. See the template on the website.
All the personal information regarding authorship should be provided when registering to make a submission through the platform: title of the manuscript; authorship (author and co-authors); institutional affiliation, full institutional address, including ORCID identifier and e-mail address.
Evaluation of submissions (double-blind peer-reviewed)
To ensure the academic and scientific quality of the publication, all works submitted to UoU journal
will be reviewed by the Editorial Team, which will approve its academic quality, as well as its format and publication standards. Editors determine if the works submitted fall within the remit of the journal and ensure compliance with scientific quality standards, verifying:
- The adequacy of the topic to the research lines and aims of the journal and, where
appropriate, to the specific theme of a monographic issue proposed for publication.
- Compliance with the formal requirements established in the Guidelines for author’s section.
- The non-commission of plagiarism through the use of specialized software.
Critical essays and scientific articles also undergo a process of double-blind peer review prior to acceptance for publication. The authors will have time to resubmit after amendments if necessary. If the reviewers’ comments have not been addressed, the Essay/Article will not be published.
Reviewers are chosen by the Scientific Board from among experts in the relevant fields of study. They are required to review the manuscript within a month and draft a report by completing a form available on the website. If they disagree on their assessment, a third evaluator will be sent the manuscript, which will be anonymous throughout the whole process.
After receiving the assessment reports, the general editors will inform the author that one of the following statuses has been assigned to the manuscript:
- Accepted with modifications. The manuscript will be published only if the authors introduce the changes proposed
by the reviewers within two weeks.
- New assessment required. The manuscript is not yet suitable for publication, but the Editorial Board will allow the authors to rewrite it and make any proposed changes in approach within three weeks. Upon receipt of the revised article, the Editorial Board will decide whether the new version can be published or should be assessed again by external evaluators.
- Not accepted.
After the assessment process a proof of the article will be sent to the author, who may propose non-content-related changes within seven days. Once the final version is ready, the article will be available on the journal’s website.
For any information on the call, you can contact the Editors in Chief, Charlotte Erckrath / email@example.com
and Sarah Stevens / firstname.lastname@example.org
Detailed guidelines are available on the UOU Journal website: https://revistes.ua.es/uou
For any additional information you can contact the director of UOU Scientific Journal here: email@example.com or the Editors and Associate Editors.