TACK Publishing Platform

Welcome to the TACK Publishing Platform – an online archive of objects produced over the course of the project. On the platform you can explore these objects, create an print your own Album – or explore Album’s made by others.

Featured Albums

Albums are groups of objects from the Archive. They can be viewed online, or printed.

by Lizzie Malcolm
October 31, 2022, 39 pages
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by Lizzie Malcolm
January 10, 2023, 23 pages
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by Lizzie Malcolm
January 10, 2023, 22 pages
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Date A-Z
The Royal National Theatre in London (1976), designed by Denys Lasdun, has attracted an unusually high volume of critical debate. Tracing the ways that critics have disagreed over time, particularly on aesthetic grounds, reveals the fluctuating fortunes of concrete Brutalist architecture beyond the theatre. This cycle has continued to inform discussion online, on social media platforms including TikTok. Ultimately, this essay argues that the only way to make sense of these conflicting accounts is to value the theatre for its capacity to generate critical, aesthetic judgments.
@whoresonlybathroom, ‘Brutalist architecture needs to die’, TikTok screenshot, 17 December 2019 , © Hamish Lonergan
, © Patrick Mackie
Book Open Access Publication Site writing

Poetic Water Boundaries: towards a possible borderless sea, (2018)

June 1, 2018

“For there is no peril greater than the sea. Everything is constantly moving and remains eternally in flux.” Luce Irigaray, Marine Lover of Friedrich Nietzsche, (New York: Columbia University Press, 1991).
, © Anna Livia Vørsel
Poetic Water Boundaries , © Anna Livia Vørsel
, © Anna Livia Vørsel
There has been an intense discourse on the relationship between inter-stakeholder university engagements, or service learning, and the broader society that South African universities claim to serve over the past decade in both local and international academia. The inherent problem within these power structures, the challenges to achieving mutually beneficial project outcomes and the growing concern of vulnerable, unheard institutional and individual voices are critical factors. The recognition of these dynamics within the emerging field of design research and design-led teaching is less nuanced in these debates. Training institutions of architecture have a rich history of undertaking service-learning initiatives to create value and learning for both the students and the stakeholders of such projects. Still, in South Africa, they are only now seen through a post-rainbow nation lens. The FeesMustFall movement is primarily driving this change. Larger institutions are recognising previously marginalised voices that now find traction in learning and practice across South Africa. This chapter reflects the author’s experience with emergent views and concerns as a researcher, lecturer and spatial design practitioner in Johannesburg. This section centres on learning regarding city-making in Southern Africa, and it presents two case studies followed by a discussion of growth opportunities.
Example co-developed code of engagement (Author 2017) , © Jhono Bennett
, © Jhono Bennett
Challenging practice students engaging in the workshop debate (The author’s photos) , © Jhono Bennett
Students and staff of AT working with Denver residents on the Action Research Studio (Author’s photos) , © Jhono Bennett
Journal Article Open Access Publication

Three Cities and a Village with Jan Morris

This essay explores the life and travel writing of Jan Morris through the places that she wrote about over her seventy-year career. It considers how individual subjectivity and biography, particularly queer identities and bodies, relates to our experience of cities. On a methodological level, the essay uses Morris’ writing to illuminate buildings (gender affirmation clinics, queer domestic spaces) and processes (decay, more-than-human relations) still often neglected by architectural history, while developing a writing approach that preserves her distinctive literary voice.

October 2021

Hamish Lonergan
Book chapter

Meme, Memory or Critic: Revaluing Brutalism on Social Media

In the last decade, Brutalism has been the focus of public engagement on a level rare for architecture in our civic culture. Even more surprising is its popularity on social media accounts like FuckYeahBrutalism (FYB). Discussions of online Brutalism as nostalgic or as a meme emphasise its individualised, democratic appeal. Neither explanation is wholly convincing: most social media users lack detailed knowledge of Brutalism’s political context, while its seriousness defies meme humour. Instead, online popularity should be interpreted through the longer history of Brutalism in broad- and narrow-cast media, on television and in academic publications, associated with a series of key critics. Even on social media, figures like FYB’s Michael Abrahamson continue to act as critics online. This places brutalism within academic debates on amateur online writing and whether it can be criticism, made more pronounced on image-based social media. While this seems to undermine narratives of democracy online—with taste controlled by critics as in traditional media—what emerges is a different kind of equality. Figures like Abrahamson provide a link from education and academia to the wider architecture community and the general public. Repeated exposure to high-quality, curated images of Brutalism helps the public develop the necessary visual acuity to begin to recognise the worth and specific qualities of this architecture; a refined taste we are beginning to see reflected back into developments in academia and grassroots conservation campaigns. Underpinning this discussion is the empirical aesthetics of David Hume, and his startling notion that the greatest recommendation for a critic is their popular acclaim. It is only by recognising and following good critics that we can approach a standard of taste, and begin to make our own aesthetic judgments.


Hamish Lonergan

The American Pictures of the “Shrimps’ Vanguard”

The research addresses the idea of the “picturescape” as a form of episteme1, which tacitly and structurally influence the operative design modalities applied in both architectural theory and practice. The definition of “picturescape” is derived from the term “objectscape”, coined by the Leiden archaeologist Miguel John Versluys2. Specularly to this notion, the term refers to the new configuration of visual culture that was caused by the emergence of the technical means of images reproduction from the beginning of the Seventeenth century onwards. During the course of the following centuries, pictures differently corresponded to the historical contexts in which they were acting, producing a substantial impact in the definition of the coeval cultures and of their related ideas of architecture. Final objective of the research is the thorough understanding of such an influence at the multiple levels at which it operated.
Filippo Cattapan

TACK Summer School

During the 20th century, summer schools emerged as influential moments of encounter and collaboration between students and teachers from diverse cultural contexts. Yet despite their persistence and prominence, there has been relatively little exploration of their role in architectural culture and education. Re-enacting Tacit Knowledge, a summer school about the tacit dimension of summer schools held at Het Nieuwe Instituut in September 2021, set out to fill this gap. The event formed part of the ongoing collaboration between the institute and the Horizons 2020 Innovative Training Network: TACK / Communities of Tacit Knowledge: Architecture and its Ways of Knowing.


Journal Article Open Access Publication

A Joint of Many Worlds: Entangled Stories in Battaile en Ibens’s 78+ Construction System in Timber

This paper explores the distinct networks of technical and embodied knowledge present in the development of the 78+ construction system in timber, designed in the 1970-80s by Flemish design office Battaile Ibens. It develops the history of the knooppunt, a joint of a particular material and technical complexity that structures the system’s wooden beams and cross-shaped columns, and argues for the understanding of architecture and construction as complex constellations of different crafts and skills, including but not limited to architectural design and engineering. Design and technical decisions are traced in parallel to economic and marketing strategies, weaving together social and material phenomena that shaped the system’s history. From the initial designs and prototyping, through publicity decisions and appearances in international expositions, until its idealization in the office’s approach, the history of the knooppunt exemplifies the interplay between different stakeholders and knowledge orbiting the technological development of construction systems.


Eric Crevels
Lecture / Talk Video

6 December 2021

Delft University of Technology, Faculty of Architecture and the Built Environment Academy of Fine Arts Vienna, Institute for Art and Architecture
Lecture / Talk Video

11 March 2021

Vlaams Architectuurinstituut (VAi) Architekturzentrum Wien (AzW) Ionas Sklavounos Eric Crevels Paula Strunden Mara Trübenbach
Lecture / Talk Video
Architekturzentrum Wien (AzW) Het Nieuwe Instituut (HNI) Anna Livia Vørsel Hamish Lonergan Claudia Mainardi