michael C tawa

The University of Sydney, Architecture, Design & Planning, Faculty Member

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Qualifications
1993- Registration, Architects Board of SA, Registration #2241
1992 PhD UNSW
1980 BARCH(HONS) UNSW
1977 BScARCH UNSW

Academic Positions
2013-16 Visiting Professor, School of Architecture, Design and Planning, Newcastle University (UK).
2012 Azrieli School of Architecture & Urbanism, Carleton University, Ottawa. Invited Professor in Residence (January-February)
2010- University of Sydney – Professor of Architecture
2006-2010 Newcastle University (UK) - Professor of Architectural Design, School of Architecture, Planning and Landscape
2004 Écoles des Haûtes Études en Sciences Sociales (EHESS), Paris: Invited Professor, Centre de Recherches sur le Japon (February-March)
1995-2006 University of NSW - School of Architecture: Senior Lecturer.
1988-95 University of South Australia - School of Architecture: Lecturer/Senior Lecturer.
1977-86 University of NSW - School of Architecture: Tutor.

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Alessandro Camiz, Ph.D.

Università degli Studi "G. d'Annunzio" Chieti Pescara

David Seamon

Kansas State University

Pelin Tan

Batman University

Orietta Lanzarini

Università degli Studi di Udine / University of Udine

Ali Uzay Peker

Middle East Technical University

Lucien F Steil

University of Notre Dame

Ivo Blom

Vrije Universiteit Amsterdam

Mark DeKay

University of Tennessee Knoxville

Dimitris P. Drakoulis

Aristotle University of Thessaloniki

Viacheslav Kuleshov

Stockholm University

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Journal Articles by michael C tawa

Title: Consilient Discrepancy: Porosity and Atmosphere in Cinema and Architecture

Cinema constitutes a way of looking at the world, at a world – its aspect, its appearance; but it... more Cinema constitutes a way of looking at the world, at a world – its aspect, its appearance; but it also presents how that world looks, its prospect – by the prospective glance it throws back toward us. The " look " of a film – its mood, ambiance or atmosphere – eclipses formal and aesthetics registers. It is fundamentally world-forming, and therefore both cosmogonic and ethical: cosmogonic because it produces a world in the midst of, and as, the temporality that devolves through its passage; and ethical because the world it brings about is an inhabited world, a conjugation of people and place that constructs particular ways of being-there-together. The premise here is that atmosphere, ambiance and mood have never been vague categories for cinema and need not be for architecture: rather, that they are in fact producible through deliberate organizational strategies – kinematic and narrative in film, tectonic and material in architecture – according to what might be called " consilient discrepancy " – the coexistence of disseveral systems in unaligned multiplicity that, while never fusing, resonate to produce emergent conditions. Cinema offers architecture an accessible and instructive instance of such consilient discrepancy, because, in it, atmosphere is more fully captured and the conditions that create it more evidently analyzable. To that extent, cinema provides architecture with comparative grounds for engaging with atmosphere through a properly tectonic practice that can potentially enrich the design and experience of architecture. Consilient discrepancy is evident across multiple registers in film. It can function at the level of narrative, space and time and thus puts into question verisimilitude, causality, situational and

michael C tawa

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