OASE defends high standards of expected ethical behaviour of all parties involved in the act of publishing: the authors, the editors, the peer reviewers, the publishers and the community of academic architecture journals. We follow as such ‘the guide for ethical editing’ as made available by the Committee of Publication Ethics. OASE takes it as its duty to guarantee ethical behaviour in all issues. The academic editor and academic committee play a key role preserving the quality.
The peer-reviewed articles published in OASE support and embody a scientific method. Their publication reflects the quality of the work of their authors and their supporting institutions, most often faculties of architecture of leading universities. When publishing their articles in the peer-reviewed journal, OASE contributes to the essential development of a coherent and respected network of knowledge in the field of architecture. Over the thirty years of its existence, the journal has played an instrumental role in promoting and improving academic publishing in the architectural field, inviting young scholars to write and publish articles while training them in ethical behaviour.
Facing the increasing practices of plagiarism, OASE believes that monitoring publishing ethics is a major aspect of our editorial process. The editorial board and the academic editor are in their day-to-day practice committed to maintaining the high quality of the journal and critically observe all contributions from this perspective.
In order to enhance its academic approach towards publishing, OASE has elaborated significant tools: the extensive author’s guidelines, the official templates of invitation and rejection, the templates for calls for papers and for peer-reviewing. We share these tools with colleague editors in order to improve ethical publishing and responsible editorial behaviour in the international field of architectural publishing.
Technische Universiteit Delft, Technische Universiteit Eindhoven, Katholieke Universiteit Leuven, Universiteit Gent, Universiteit Hasselt
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The site was made possible thanks to financial contribution of the Netherlands Architecture Fund.
Exhibition “Recent Work” about OASE’s graphic designer Karel Martens presented at P!, a gallery in New York from 11 September - 30 October 2016.
OASE 96 examines the remarkable revival of architectural practices that focus on reuse and appropriation of buildings, environments and materials. To what extent can and will designers engage in this process, and what is the possible positive or negative social impact of these interventions? This issue focuses on case studies, practical experience, critical refl ection and ideas that show how architects and urban planners proactively deploy reuse in view of future user opportunities and/or applications.
The aim of
this issue of OASE is to understand
the historical foundations of the concept of narrativity in reading and
designing the (urban) landscape, and to uncover the relevance of narrativity for
Please send your abstract (maximum 500 words) before 15 July 2016 to email@example.com.
This issue of OASE takes as its point of departure the cross-cultural conditions in which architects, urban designers and landscape architects work. It focuses in particular on architects working in a condition of displacement – in other words in relation to cultures, far away or nearby, that are not their own.
The Architecture of Use and Appropriation.
This issue of OASE is situated within a tradition that gives a central role to questions of use and appropriation in architectural reflection. The general attention to use and appropriation is part and parcel of a layered critique of architecture.
and performative spaces have long been at the centre of OMA’s – and now mostly AMO’s
– work. Two key exhibitions of the late 20th century roughly bookend
the time span covered by OASE 94 –
which title is inspired by OMA’s The
First Decade 1989 show at the Museum Boijmans van Beuningen in Rotterdam. On
the one hand, OMA’s participation in the Strada
Novissima at the First International Architecture Exhibition of the Venice
Biennale, for which a facade had been elaborated between 1979 and 1980; and on
the other hand, the Deconstructivist
Architecture exhibition that opened in June 1988 at the MoMA in New York. Yet
the Strada Novissima facade has been omitted
from all OMA’s chronologies. What sense can we make of that project and what
did it represent? Which were the commonalities between OMA’s agonistic
participation and other projects featuring Koolhaas’ paradoxical use of history?
This thematic issue of OASE sheds new light on the architectural
production of OMA during its first decade (1978-1989) – a mythical but
at the same time not very well known period in the history of the
world-famous office of Rem Koolhaas.