The Avery Review

The Avery Review is an online journal dedicated to thinking about books, buildings, and other architectural media.

[The Avery Review @averyreview]

and Ozayr Saloojee pens an epistolary history on place, violence, and the possibility of more tender forms of relation from Hyde Park Road in London, Ontario to Hyde Park in London, UK: https://t.co/z9rwtFfLnR [5/5].

[The Avery Review @averyreview]

Issue 65 is here: The collected essays stay with and within spaces of division, of violence, of boundaries, borders, and regulations in order to surpass them, to see across and through seemingly disparate or “foregone” places and conclusions: https://t.co/V51qqDw0y9 [1/5];

[The Avery Review @averyreview]

Alexandra Pereira-Edwards explores the intimate spatial relations and the publics—allowed and disallowed—on Twitch, alongside the carcerality that unfolds as these communities break out beyond the screen: https://t.co/6TblnfLbZG [4/5];

[The Avery Review @averyreview]

Issue 64 is here! Jake Deluca visits cemetery islands; Hiʻilei Julia Kawehipuaakahaopulani Hobart surfaces the potentials of land reclamation; Christoph Miler traces the toxicity of Swiss gun clubs; Scholars remember Jean-Louis Cohen: https://t.co/V51qqDw0y9

[The Avery Review @averyreview]

Question from @frigidartbitch: “So, in the retelling of a dream in an analyst’s office, which encounter with the real is the real encounter with the real? Which architecture—that of the office or that of the dream—is the architecture of the real?” https://t.co/lTftcI2hGj

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“@ADVOCATEdoc provides the viewer with rare visuals of the apartheid system in motion...” @maxpgoldner rewatches the film to dissect how Israeli “extralegal violence” unfolds beyond, outside, and adjacent to the courtroom https://t.co/UtYPjdEStu

[The Avery Review @averyreview]

“NORCO is a vote for baroque chaos at the end of the world, a feverish masquerade that can propagate new geographical and spatial interpretations.” @johndeandavis & @BryanNorwood celebrate “a belly architecture that cannot be in contained” https://t.co/k8nw6JKA5n

[The Avery Review @averyreview]

Issue 63 is live! @johndeandavis & @BryanNorwood find Louisiana in the Caribbean w/ the video game NORCO; @maxpgoldner traces Israel’s “extralegal violence” adjacent to the courtroom; @frigidartbitch inhabits dream architectures & our relation to the real: https://t.co/HQmLnLlBaZ

[The Avery Review @averyreview]

In the new issue, Clare Fentress reopens an emptied and neglected hospice space. Attending to its architectures, her first prize essay newly makes room for both its patients and workers amid the contemporary devaluation of care, health, and that labor.

https://t.co/pp5DbA0acm

[The Avery Review @averyreview]

“…for a moment in history, the Connecticut Hospice sincerely attempted to spatially manifest its ambition to yoke the well-being of patients to the well-being of staff…two populations commonly cast aside by the state and by capital as outside the realm of production…” ❤️‍🩹

[The Avery Review @averyreview]

And the second prize essays are awarded to Yakin Ajay Kinger (@CEPTUniversity1); Mariam Aref Mahmoud (@ColumbiaGSAPP); and Sonia Sobrino Ralston (@HarvardGSD)

Read all the winning essays here: https://t.co/NhnjApFq9x
(6/6)

[The Avery Review @averyreview]

In our latest, we are excited to present and publish the winners of our 6th annual Essay Prize, which celebrates students' critical writing on architecture
(1/6)

[The Avery Review @averyreview]

Clare Fentress’s first prize essay (@YaleArch) reopens a much-needed forum for the concerns of hospice care, its architectures, and its workers. It recalls the first purpose-built hospice center in the US alongside a larger history of the decline in end-of-life facilities
(5/6)

[The Avery Review @averyreview]

“An abolitionist sanctuary would be possible when the idea of the nation-state, and along with it the territorial border, becomes a thing of the past.” @esraakcan reads @ANaomiPaik’s *Bans, Walls, Raids, Sanctuary* https://t.co/kj9ZZLCvYf

[The Avery Review @averyreview]

“Distinct from new monuments that seek to ‘bring visibility’ or ‘give voice’...the counter-monument illuminates the ruling political & aesthetic rubrics that govern space & discipline the imagination.” Julia Michiko Hori in no. 61 🗽 https://t.co/pNDXSIVHtJ