Redlines is a collection of interviews with editors that make today's most provocative architectural publications come to life. While architecture is traditionally concerned with buildings, materials, and scale, their importance and historical impact are recorded through words, books, and images that are often organized, published, and disseminated. Redlines seeks to understand the pedagogical and design frameworks that shape this process.

This week we speak to Alfie Koetter, one of three editors of Project Journal, about their newest issue.

Project and other publications featured in the series are now available at Archinect Outpost, our new initiative in downtown LA’s Arts District, as well as our online store.

Join us in celebrating the launch of the newest issue of Project Journal at Archinect Outpost on Friday, October 26th, 6-9 PM. 

RSVP to reserve your spot!

Who runs the publication? 

Project is run by Alfie Koetter, Daniel Markiewicz and Emmett Zeifman.

How often is it released? 

Project is released biannually to annually.

Is there anything new and unusual to look out for in your newest issue?

Nothing more unusual than any other issue of ours. Project isn't themed in any way; instead we cast a more general net to get a sense of what is happening within the discipline at any given point in time. This approach runs the risk of producing disjointed issues where there is no consistency from one piece to the next. Typically, however, we see surprising and unexpected intersections between pieces which begin to suggest a series of questions that are in the air of the discipline today. 

In this issue these questions related to the conceptual and computational automation of architectural labor; the aesthetics and politics of that labor; the construction of architectural images, and the politics, disciplinary or global, that attend them; the display and performance of both domestic and public life, as framed by architecture; contemporary interactions - mediated by code, contracts, images, buildings - between humans and machines, machines and environments, partners in practice, architects in society. Put another way, the issue poses a simple question: How do we make things? From which follows a series of related questions: What do those things do? And how? And who do they affect?

How do you feel Project stands out among other journals of architectural criticism? 

Like many other little-read zines, journals, newsletters, or blogs, Project captures the energy of a relatively small community that has formed around interests that might seem minor or esoteric. Are processes parametric or algorithmic? Do you think in RGB or CMYK? These questions might seem inscrutable or secondary, but they are the first step towards understanding how we might change reality. These sorts of questions aren't for everyone though; for that reason, Project probably recedes into the background more than it stands out. It is not the flashiest, nor is it the most accessible. Even so, we'd like to think that Project is contributing to the way those outside of the small community of our readers think and talk about architecture whether they know it or not. 

Most people have probably never heard of God Shammgod, but he's one of the most influential basketball players to have a minor career in the NBA. He's your favorite point guard's favorite point guard. His game influenced those of so many notable players that came after him. He taught Kobe Bryant how to properly dribble. The casual fan doesn't appreciate this, but those who know do. If Project stands out at all, we would hope that is in the same way God Shammgod stands out. 

The [most recent] issue poses a simple question: How do we make things? From which follows a series of related questions: What do those things do? And how? And who do they affect?

What is the long-term goal of the publication?

There is the altruistic response which would be that Project's long-term goal is to continue to give younger and emerging architects a platform to contribute to or start new conversations within the discipline. 

The more selfish response would be that Project gives us as editors, but perhaps more importantly as practitioners (Alfie and Emmett with MEDIUM OFFICE, Daniel with FORMA), a way to stay involved and informed. We don't want to stagnate. Before we started this publication, we collectively realized how easy it would be to effectively check-out, to stop paying attention to what was going on in the richer, more niche corners of the discipline. Project was for us then, as it continues to be now, a window into those disciplinary communities that we respect and want to be a part of. 

What do you believe is the role of print media today?

Print media has a degree of gravitas that websites don't. Simply put, it costs money and the articles published need to be worth it, literally. Given the cost of printing and shipping, each piece that makes it into Project costs us $450 of our own money. For a little-read publication, this is not small change. We would like to think, though, that the financial implications of printing leads to more carefully considered and curated publications.