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<p class="MsoNormal"><i><span style="font-size:11.0pt">Fabrications: JSAHANZ</span></i><span style="font-size:11.0pt"> invites papers for the forthcoming issue (Vol.27, No.3), titled “Way Out Down Under”, guest edited by Lee Stickells. Papers are due by
<b>14 March 2017.<o:p></o:p></b></span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-size:11.0pt"><o:p> </o:p></span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-size:11.0pt">Historical understanding of the complexities and legacies of the 1960s and 1970s counterculture has been significantly enriched in the last decade or so. Familiar narratives of the birth, flourishing
and decline of a naïve, failed, utopian hippie “dream” have been rethought. Instead, the counterculture’s longer influence on the development of contemporary environmentalism, lifestyle branding, business thinking and cyberculture has been recognised. A more
detailed picture of an international, or transnational, counterculture that extended to South America, Asia and Eastern Europe, with distinctive manifestations, has also emerged.<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-size:11.0pt"><o:p> </o:p></span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-size:11.0pt">The expanded countercultural history of the last two decades has also reconsidered the intertwining of architecture and the counterculture. While visions of psychedelically painted geodesic domes
are imprinted on popular memory, the substance behind that clichéd image is that new modes of building and dwelling were understood as critical to materialising alternative social forms. There is a growing body of scholarship in architectural history that
has sought more nuanced understandings of the ways in which countercultural challenges to existing society affected the discipline’s knowledge base, pedagogical structures, and its representational and practice forms.<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-size:11.0pt"><o:p> </o:p></span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-size:11.0pt">This issue of Fabrications invites contributions that add to the scholarship on countercultural ideals and practices explored outside their traditional geographic imaginary, particularly in Australia,
New Zealand, the South Pacific and South-East Asian regions. It anticipates papers that extend historical understanding of the diverse set of experimental and subversive architectural projects, conceptual work, pedagogical initiatives, exhibitions and publications
that can be connected to the countercultural radicalism of the 1960s and 1970s. While American, particularly West Coast, spatial practices were highly influential, they were never absorbed wholesale, but rather as a mediation between the local and the global.
For this issue, we welcome submissions that explore the translation of concepts, attitudes and practices – the sustained experimentation in new temporal localities, and local adaption.<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-size:11.0pt"><o:p> </o:p></span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-size:11.0pt">Questions to be explored might include: How did local cultural legacies inform countercultural architecture? What was the role of countercultural experimentation in defining and popularizing ecological
ideals in architecture? How was fascination with South and East Asian spirituality manifested in counterculture environments? What were the dynamics of cultural transfer between radical and mainstream architecture practices? What role did alternative publishing
networks play? How was spatial production important to an urban politics of occupation and creative transformation? How might methodological and disciplinary innovations reconfigure narratives about countercultural architecture, its heritage structures, and
its cultural outcomes?<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-size:11.0pt"><o:p> </o:p></span></p>
<p class="MsoNormal"><b><span style="font-size:11.0pt">Guidelines for Authors</span></b><span style="font-size:11.0pt"><o:p></o:p></span></p>
<p class="MsoNormal"><b><span style="font-size:11.0pt"> </span></b><span style="font-size:11.0pt"><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt">Papers should be submitted online at
<a href="http://www.edmgr.com/rfab">www.edmgr.com/rfab</a> by the due date identified above.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt">The Editors consider essays of 6000 to 9000 words (including endnotes). Papers should be submitted as Word documents with an abstract (200 words) at the beginning of the paper. Abstracts are published at
the beginning of papers. Please provide images and image captions with the paper.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt"><o:p> </o:p></span></p>
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