Tim Ainsworth Anstey

• Anstey, Tim Ainsworth (2025). Learning Outcomes. Reflections on Ten Years Engagement with the AHO PhD. Nordisk arkitekturforskning. 1(1), s. 19–34. doi: https:/arkitekturforskning.net/files/journals/1/issues/133/133-41-PB.pdf. Fulltekst i vitenarkiv Vis sammendrag

  This keynote lecture considered the development of the PhD Programme and PhD teaching at the Oslo School of Architecture and Design.

• Anstey, Tim Ainsworth (2025). Mobility. I Fleckner, Uwe & Lending, Mari (Red.), Provenance in Architecture. A Dictionary. Hatje Cantz Verlag. ISSN 9783775761147. s. 123–124. Fulltekst i vitenarkiv
• Anstey, Tim Ainsworth (2025). Authorship. I Fleckner, Uwe & Lending, Mari (Red.), Provenance in Architecture. A Dictionary. Hatje Cantz Verlag. ISSN 9783775761147. s. 35–36. Fulltekst i vitenarkiv
• Anstey, Tim Ainsworth (2024). Aby Warburg i Norge og på norsk. s. 211–237. Fulltekst i vitenarkiv
• Lending, Mari & Anstey, Tim Ainsworth (2023). Warburg Models, Warburg Models: Buildings as Bilderfahrzeuge. Hatje Cantz Verlag. ISSN 9783775755207. s. 8–19. Fulltekst i vitenarkiv Vis sammendrag

  Architecture and interiors were crucial for Aby Warburg’s interrogation of culture, a focus that was at once intellectual, visceral, historical and contemporary. As well as understanding how architecture had shaped systems of cultural orientation in the past, for Warburg and his followers this involved a continual process of architectural commissioning in the present. Between 1923 and 1958 designs were initiated for a collection of buildings, interiors and exhibitions, as the Warburg library moved through a series of homes, first in Hamburg then in London. All these projects provided opportunities for expressing the relationship between architecture, intellectual order, and memory. Warburg Models. Buildings as Bilderfahrzeuge sheds new light on Warburg’s involvement with architecture, portraying six building projects from archival material. Detailed architectural models made by students at the Oslo School of Architecture and Design, and accompanying contributions from Dag Erik Elgin, Uwe Fleckner, Elizabeth Sears, Bill Sherman, and Claudia Wedepohl, show how architectural repetition, re-inscription and movement shaped a seminal research institution.

• Anstey, Tim Ainsworth (2023). Buildings as bilderfahrzeuge, Warburg Models: Buildings as Bilderfahrzeuge. Hatje Cantz Verlag. ISSN 9783775755207. s. 20–35. Fulltekst i vitenarkiv Vis sammendrag

  Architecture and interiors were crucial for Aby Warburg’s interrogation of culture, a focus that was at once intellectual, visceral, historical and contemporary. As well as understanding how architecture had shaped systems of cultural orientation in the past, for Warburg and his followers this involved a continual process of architectural commissioning in the present. Between 1923 and 1958 designs were initiated for a collection of buildings, interiors and exhibitions, as the Warburg library moved through a series of homes, first in Hamburg then in London. All these projects provided opportunities for expressing the relationship between architecture, intellectual order, and memory. Warburg Models. Buildings as Bilderfahrzeuge sheds new light on Warburg’s involvement with architecture, portraying six building projects from archival material. Detailed architectural models made by students at the Oslo School of Architecture and Design, and accompanying contributions from Dag Erik Elgin, Uwe Fleckner, Elizabeth Sears, Bill Sherman, and Claudia Wedepohl, show how architectural repetition, re-inscription and movement shaped a seminal research institution.

• Anstey, Tim Ainsworth (2020). Economies of the interior: Thomas hope and interior decoration. Grey Room. ISSN 1526-3819. 78, s. 124–145. doi: 10.1162/grey_a_00285. Fulltekst i vitenarkiv
• Anstey, Tim Ainsworth (2020). Moving Memory: The Buildings of the Warburg Institute. Kunst og Kultur. ISSN 0023-5415. 103(3), s. 172–185. doi: 10.18261/issn.1504-3029-2020-03-06. Fulltekst i vitenarkiv
• Lending, Mari & Anstey, Tim Ainsworth (2018). Moving Egypt. I Lending, Mari; Bøhn, Eirik Arff Gulseth & Anstey, Tim Ainsworth (Red.), Images of Egypt. Pax Forlag. ISSN 9788253040813. s. 31–98. Fulltekst i vitenarkiv
• Anstey, Tim Ainsworth (2018). Movables. I Hvattum, Mari & Hultzsch, Anne Katrin (Red.), The Printed and the Built. Architecture, Print Culture and Public Debate in the Nineteenth Century. Bloomsbury Academic. ISSN 9781350038417. s. 231–236. Fulltekst i vitenarkiv
• Anstey, Tim Ainsworth (2012). Things that move. Nordic - Journal of Architecture. ISSN 2244-968X. Fulltekst i vitenarkiv

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• Toft, Anne Elisabeth; Rönn, Magnus; Anstey, Tim Ainsworth; Ashton, Matthew; Mussault, Violaine Forsberg & Helgason, Vignir Freyr [Vis alle 11 forfattere av denne artikkelen] (2025). Creation of New Knowledge: Dialogues Inside and Between Disciplines. Nordic Academic Press of Architectural Research. ISBN 9789198379785. 246 s. doi: https:/arkitekturforskning.net/files/journals/1/issues/133/133-41-PB.pdf. Fulltekst i vitenarkiv Vis sammendrag

  This anthology is the proceedings publication from the 2023 NAF Symposium Creation of New Knowledge: Dialogues Inside and Between Disciplines. Addressing PhD-education in the Nordic countries this volume is part of a small thematic series on this topic published by NAF/NAAR. The book focuses on transdisciplinarity and its relevance to architecture and its knowledge production. Editors: Anne Elisabeth Toft and Magnus Rönn Contributing authors: Tim Anstey, Matthew Ashton, Violaine Forsberg Mussault, Vignir Freyr Helgason, Saija Hollmén, Matilde Kautsky, Magnus Rönn, Siv Marit Stavem, Béatrice Stolz, Anne Elisabeth Toft, Albena Yaneva

• Anstey, Tim Ainsworth (2024). Things That Move: A Hinterland in Architectural History. MIT Press. ISBN 9780262547505. Fulltekst i vitenarkiv Vis sammendrag

  We tend to think of architecture as a practice in permanence, but what if we looked instead for an architecture of transience? In Things That Move, Tim Anstey does just that: rather than assuming that architecture is, at a certain level, stationary, he considers how architecture moves subjects (referring to its emotive potential in the experience it creates); how it moves objects (referring to how it choreographs bodies in motion); and how it is itself moved (referring to the mixture of materials, laws, affordances, and images that introduce movement into any architectural condition). The first of the book’s three sections, “Cargoes,” highlights the mobile peripheries of architectural history through the eighteenth and nineteenth centuries. It asks what kinds of knowledge can be included in a discussion of architecture, noting the connections between discourses of the lithe and the technical, on the one hand, and those associated with the production of monumental, static compositions on the other. The second section, “Dispatches,” reinterprets early architectural theory by examining the Renaissance ideal of decorum, the nature of the architectural work, and the ways in which architects are constituted as authors. The last part of the book, “Vehicles,” considers building in terms of literal and metaphorical movement, using two cases from the twentieth century that investigate the relationship between architecture and cultural memory. Using a broadly forensic approach to connect details in otherwise disparate cases, Things That Move is a breathtakingly capacious architectural account that will change the way readers understand buildings, their becoming, and their significance.

• Anstey, Tim Ainsworth; Sherman, Bill & Tassell, Dan (2024). The Warburg Renaissance: Rebuilding the Institute. Haworth Tompkins . ISBN 9781399903431. 70 s. Fulltekst i vitenarkiv
• Anstey, Tim Ainsworth & Lending, Mari (2023). Warburg Models: Buildings as Bilderfahrzeuge. Hatje Cantz Verlag. ISBN 9783775755207. 88 s. Fulltekst i vitenarkiv Vis sammendrag

  Architecture and interiors were crucial for Aby Warburg’s interrogation of culture, a focus that was at once intellectual, visceral, historical and contemporary. As well as understanding how architecture had shaped systems of cultural orientation in the past, for Warburg and his followers this involved a continual process of architectural commissioning in the present. Between 1923 and 1958 designs were initiated for a collection of buildings, interiors and exhibitions, as the Warburg library moved through a series of homes, first in Hamburg then in London. All these projects provided opportunities for expressing the relationship between architecture, intellectual order, and memory. Warburg Models. Buildings as Bilderfahrzeuge sheds new light on Warburg’s involvement with architecture, portraying six building projects from archival material. Detailed architectural models made by students at the Oslo School of Architecture and Design, and accompanying contributions from Dag Erik Elgin, Uwe Fleckner, Elizabeth Sears, Bill Sherman, and Claudia Wedepohl, show how architectural repetition, re-inscription and movement shaped a seminal research institution.

• Lending, Mari; Bøhn, Eirik Arff Gulseth & Anstey, Tim Ainsworth (2018). Images of Egypt. Pax Forlag. ISBN 9788253040813. 288 s. Fulltekst i vitenarkiv

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• Anstey, Tim Ainsworth (2025). Anne Clifford: Provenance and Perambulation. Fulltekst i vitenarkiv Vis sammendrag

  This paper looks at provenance-claims made in, on, and about buildings in England during the mid-seventeenth century, decades before a discourse of provenance in relation to art emerged. It speculates on two aspects of Lady Anne Clifford’s interactions with architecture. On one side, how her projects of architectural restoration were implicated in broader strategies to claim rights to lands in dispute. On the other, how her habits of travel between her ancestral homes supported her claims to proprietorial control. Overall it tries to open up a discussion that moves provenance beyond the question of certain histories of ownership, considering how desires and disputes can be articulated through what it terms “provenance-claims” related to architecture.

• Anstey, Tim Ainsworth (2025). Discrepant Circulation: Things That Move in Stockholm. Fulltekst i vitenarkiv Vis sammendrag

  This talk charts a relationship between developiong techniques of architectural infrastructure and three early twentieth century technologies: trams, electric propulsion and moving film. The lecture reads one case study, the design of an urban traffic circulation system in Stockholm, Sweden, arguing that it design intention cannot be explained without reference to development of moving film media.

• Anstey, Tim Ainsworth & Wallenstein, Sven-Olof (2025). Site Podcast interview: Things That Move. A Hinterland in Architectural History. Tim Anstey interviewed by Sven Olof Wallenstien. [Internet]. https://podtail.se/topic/Sven-Olov+Wallenstein/. Fulltekst i vitenarkiv
• Anstey, Tim Ainsworth (2024). “Forget where you are, and that your life is so much less eventful than that on the silver screen”: filmic projections of the architectural future in Stockholm, 1930-1935. Fulltekst i vitenarkiv
• Anstey, Tim Ainsworth (2015). Lost and Found: Cleopatra's Neeedle in the Illustrated London News. Fulltekst i vitenarkiv
• Trübenbach, Mara; Anstey, Tim Ainsworth & Hemmings, Jessica (2024). MATERIAL DRAMATURGY: TRACING TRAILS OF DUST IN THE ARCHITECTURAL DESIGN PROCESS. Arkitektur- og designhøgskolen i Oslo. ISSN 9788254703687. Fulltekst i vitenarkiv Vis sammendrag

  Following the digital turn of the 1990s, architectural practices moved into a digital world, a development that was further accelerated by the Covid-19 pandemic. In this shift from analogue to digital there is a risk of losing touch with the physical, and skills that are essential for collaborating with physical materials. Widespread digitalisation requires a platform for discussion to recognise the performative potential of materials and to grasp the range of emotions they can induce. The effects generated by materials have implications for human decision-making. Ultimately, materials – as communicators, mediators and performing agents – act with our individual bodies, our memories and our subconscious, participating in a dialogue with them. To come to a better understanding of the performative potential of materials, this research project deals with what it terms ‘the inner and outer worlds’ of humans and materials, highlighting the lack of a common language to describe their encounters. Focusing on the activities of model-making, textile design and scenography, in this thesis I explore a range of hidden agencies in architectural production that question the relation between human agents and the materials that make up the world around them. I investigate how different understandings of materials operate in the work of human actors, especially individuals who often have a latent agency yet contribute to the process of architectural production. The aim is to understand better the ways in which interrelations and performativity feed back into architectural practice. To understand such processes, I turn to theatre and performance studies, which provide alternative methods for participation, as well as performance itself. Theatre studies theorise how performance generates a nuanced range of feelings imaginatively and visually, aided by different actors and agents. In this thesis a similar perspective is brought to bear on processes internal to architectural production. As well as the theory of performance, I refer to feminist scholars such as Karen Barad (2003), Rosi Braidotti (2013) and Donna Haraway (2016), whose perspectives on the Anthropocene have been instrumental in shaping awareness of the relationship between humans and non-human beings. These contributions offer fundamental insights to rethinking the ways in which architects might work with, intellectualise and sense materials. Using the methods of ‘site-writing’ as outlined by architectural theorist Jane Rendell (2010), ethnography and practice-based research, I aim to demonstrate that the actors I study, and the interactions they engage in – between specialist skill and general practice development – generate fruitful but often insufficiently respected sites for the creation of ‘material literacy’ in architectural design. I argue that this potential resides in the ambiguous status of making with materials, which is simultaneously situated within and outside the core concerns of architectural practice. The conclusions in this thesis suggest that individuals who bring sophisticated material literacy into their ways of working play a unique role in learning processes, through which architects can better understand the impact of diverse materials. The empirical work with the model-maker Ellie Sampson and my own model-making practice was carried out at the London- based architectural firm Haworth Tompkins. The studies on the performance were conducted with artist Judith Raum in Berlin, the artistic collective Go Plastic Company in Leipzig, and scenographer and theatre maker Jozef Wouters in Brussels/Vienna.

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