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  • NEH Summer Institute in Granada

    Granada | Dates: 15 Jun – 10 Jul, 2015
    “The Alhambra and Spain’s Islamic Past” uses the magnificent 13th-14th-century Alhambra palace complex in Granada to study Spain’s engagement with its diverse cultural and religious history. The Institute begins with the palaces, gardens, and courtyards remaining from the Islamic period and proceeds to observe how over time the Alhambra was variously represented in traveler’s accounts, prints, paintings, and photographs as Orientalist fantasy, picturesque playground, and most recently as celebrated national monument. Through the specific history of the Alhambra, the Institute explores the culturally complex history of Muslim-Christian relations in Europe. More broadly, it considers the relationship between nationalism and memory—how a nation like Spain frames its Islamic past—and the importance of architectural monuments in the making of community identity. Application deadline: March 2, 2015.
  • Lewis Walpole Library 2015-2016 Fellowships and Travel Grants in Eighteenth-Century Studies

    Farmington | Dates: 17 – 17 Dec, 2014

    Located in Farmington, Connecticut, the Lewis Walpole Library offers short-term residential fellowships and travel grants to support research in the Library’s rich collections of eighteenth-century materials (mainly British), including important holdings of prints, drawings, manuscripts, rare books, and paintings. Scholars pursuing postdoctoral or advanced research, as well as doctoral candidates at work on a dissertation, are encouraged to apply.

    Recipients are expected to be in residence at the Library, to be free of other significant professional obligations during their stay, and to focus their research on the Lewis Walpole Library’s collections. Fellows also have access to additional resources at Yale, including those in the Sterling Memorial Library, the Beinecke Rare Book and Manuscript Library, and the Yale Center for British Art. Residential fellowships include the cost of travel to and from Farmington, accommodation for four weeks in an eighteenth-century house on the Library’s campus, and a per diem living allowance. Travel grants cover transportation costs to and from Farmington for research trips of shorter duration and include on-site accommodation. This year the Lewis Walpole Library and the Beinecke Rare Book and Manuscript Library are offering a joint Fellowship award to support up to eight weeks of research in both collections.

    Application details and requirements: http://www.library.yale.edu/walpole/research/visiting_fellowships.html

    The application deadline is January 12, 2015.

    Awards will be announced in March.

  • CFP: Journal of Architectural Education, 70:1

    Dates: 17 – 17 Dec, 2014

    Open 
    Journal of Architectural Education, 70:1

    JAE 70:1 will be a non-themed issue. We will accept essays across a range of topics to include, but not limited to, the following:

     ...agency . atmosphere . beginningdesign . body . construction . color . designbuild . demolition . energy . education . fabrication . form . global . ground . health . house . interiors . intention . journals . joint . knowledge . kitsch . line . labyrinth . making . meaning . narrative . notation . order . operation . place . precedent . quality . quantifiable . representation . responsibility . structure . sustainability . technique . technology . urbanism . utopia . vernacular . void . wallpaper . watershed . x-axis . xeric . yard . yoke . zoning . ziggurat...

    The JAE accepts Scholarship essays, Design essays, as well as Micro-Narrative essays. Design essays may also be considered across a range of frameworks.

    The submission deadline for all manuscripts for this theme issue is August 01, 2015, 5 pm US Eastern Time Zone. Accepted articles will be published in issue 70:1 (March 2016). For author instructions please consult the submission guidelines.

    Refer all inquiries to:
    Marc J Neveu
    Executive Editor
    eeditor@acsa-arch.org        

    - See more at: http://www.acsa-arch.org/publications/journal-of-architectural-education/submit-to-jae/current-calls/submit-to-jae-70-1#sthash.5ZaJO54W.dpuf

  • Sustainable Shelter: Dwelling Within the Forces of Nature

    Atlanta | Dates: 18 Jan – 05 Apr, 2015

    Sustainable Shelter: Dwelling Within the Forces of Nature discusses the techniques through which animals and humans have adapted to differing environments through an amazing diversity of structures. The exhibition investigates the ways that human dwellings extract, use, and discard energy, water and other precious natural resources and reveals innovative new design solutions that can help restore the health and viability of Earth’s natural environment.

    Sustainable Shelters is organized by the Bell Museum of Natural History at the University of Minnesota.

  • The Architectural Image, 1920-1950: Prints, Drawings, and Paintings from a Private Collection

    Washington | Dates: 08 Nov, 2014 – 03 May, 2015

    Between 1920 and 1950, architecture changed more profoundly and more rapidly than during any similar timespan in history. At the beginning of the period, an ornate form of neoclassicism—as promoted by the centuries-old École des Beaux Arts in Paris—was still prevalent in the U.S. and much of Europe. But that tradition was soon challenged by the newly established Bauhaus school in Germany, which advocated functional design free of unnecessary ornament. By the end of the period, International Style modernism, which was largely based on Bauhaus principles, was by far the predominant force in architectural education and practice.

    The changing tastes, theories, and obsessions of that era were often documented by prominent artists who found architecture and construction to be compelling subject matter. Some of these artists saw beauty in the inherent geometries of buildings, which they crisply captured via woodcuts or similar high-contrast media. Some celebrated the workers who built soaring skyscrapers or who toiled in modern factories. Others were simply fascinated by the burgeoning skylines and great works of infrastructure that distinguished the modern metropolis.

    This exhibition presents 70 prints, original drawings, and paintings from the period, all drawn from a single private collection in Washington, D.C. Included are works by such noteworthy printmakers as Howard Cook, Louis Lozowick, and Charles Turzak. Collectively, these works not only shed light on the dramatic emergence of modernism, but also reveal a certain optimistic spirit that seemed to persist amid the ongoing political, economic, and social upheaval of the era. By virtue of their bold patterns, intriguing perspectives, and masterful execution, these images invite the viewer into the captivating realm that lies at the intersection of art and architecture.

  • Resilient Landscapes

    Washington | Dates: 19 Feb, 2015

    Panelists discuss creative ways that communities around the country are working with nature to increase their resilience to natural disasters. Case studies on green infrastructure, fire wise planning, oyster reef construction and restoration of wetlands will be presented.

    Continuing education credits pending.

    $12 Members; $12 Students; $20 Non-members. Prepaid registration required. Walk-in registration based on availability.

    Tickets are non-refundable and non-transferable. Registration is for event planning purposes only and does not guarantee a seat. Online registration for Museum programs closes at midnight the day before the scheduled program.

    The Museum's award-winning Shop and Firehook Café are open for one hour prior to the start of the program. Shop and Café hours are subject to change.

    Date: Thursday, February 19, 2015 
    Time: 6:30 PM - 8:00 PM

  • Call for Papers, SACRPH 2015: The Unplanned City

    Los Angeles | Dates: 18 Dec, 2014 – 15 Jan, 2015
    The Unplanned City: The Occupation and Creative Reuse of the Built Environment Jennifer Hock (Maryland Institute College of Art) and Emily Pugh (The Getty Research Institute) In cities throughout the world, people resist and circumvent official planning and development policies by occupying buildings and repurposing the built environment. From Occupy Wall Street's take-over of New York City's Zucotti Park to casitas and community gardens to self-built housing and squatting movements in London or Berlin, individuals and groups have transformed their neighborhoods and cities in ways both pragmatic and profound. This panel looks critically at the ways individuals and groups have reused their built environments in an effort to address social, economic, political, or even aesthetic problems and to transform urban life. Rather than seeing the work of marginalized or oppositional groups simply as a struggle for turf, this panel asks how ordinary people conceive of and create alternate spaces—how they work within existing social and legal frameworks to do so, how they build and use these new spaces, and what these new spaces look like. We invite proposals for papers that will examine the themes of occupation and reuse, considering how and for what reasons individual and groups have worked to upset or protest official planning policy and how these efforts may or may not have had a broader impact on the urban built environment. Please send a one-page abstract along with a short CV to both Jennifer Hock (jenniferhock21@gmail.com) and Emily Pugh (epugh@getty.edu) by January 15, 2015.
  • Call for articles. Journal of Architecture and Urbanism - Rethinking Le Corbusier: Urban Design and History

    Dates: 18 Dec, 2014 – 30 Oct, 2015
    CALL FOR ARTICLES Journal of Architecture and Urbanism (Taylor and Francis/ Routledge) SPECIAL ISSUE: 2016 NO. 1 Theme of the issue Rethinking Le Corbusier: Urban Design and History Summary of the subject and premise It is generally believed that Le Corbusier’s urban planning made a break with the past, and that the public spaces designed by him had nothing to do with anything that existed before – a conviction fostered by both the innovative character of his proposals and by the proliferation in his manifestos of watchwords that mask any evocation of the past. However, in his writings, Le Corbusier often mentioned the powerful analogy that exists between the architecture of other times and the logic of modern production; and although this causal relationship has often been demonstrated with respect to his architecture, it has rarely been extended to the public space. This special issue of the Journal of Architecture and Urbanism aims to fill that gap by systematically analysing Le Corbusier’s relationship with the history of urbanism. Articles may focus on his reflections on the public space of earlier times, the influence that this had on his own output, the relationship of his proposals with the pre-existing city, and other subjects that clarify the affinity that he established with the past within urban design. They may deal with any period of his career and training, but should offer new perspectives on his public spaces and their relationship with history. Guest editor of the special issue Marta Sequeira (contact: martasequeiracarneiro@gmail.com) Submissions All submitted proposals are subject to initial appraisal by the guest editor, and, if found suitable for further consideration, to peer review by independent, anonymous expert referees. Submissions are, therefore, to be held in two stages. First stage: Potential contributors should send their abstracts, by email, to the guest editor (maximum of 250 words or 1200 characters with spaces) hereinafter and until October 30th 2015. In this phase, it will be assessed its relevance with regard to the issue's theme. The result of this first analysis will be reported to the authors by email. Second stage: If abstracts are found suitable for further consideration, article submission should be done online at the Journal of Architecture and Urbanism ScholarOne Manuscripts site (http://mc.manuscriptcentral.com/ttpa). Authors must specify in the manuscript that it is a “proposal for the special issue Rethinking Le Corbusier: Urban Design and History”. All submissions must be done according to the guidelines provided in the journal’s page on Taylor and Francis website. The deadline for article submissions is November 15th 2015. For article submissions, please see http://www.tandfonline.com/action/authorSubmission?journalCode=ttpa20&page=instructions#.VFtyoRZRYrc For more information about the journal, please see http://www.tandfonline.com/TTPA
  • Alvar Aalto – Second Nature

    Weil am Rhein | Dates: 27 Sep, 2014 – 01 Mar, 2015

    The architectural critic Sigfried Giedion called him the »Magus of the North«: Alvar Aalto (1898–1976) is the best known Finnish architect of his generation and a chief proponent of a human-centred modernism. His buildings such as the Paimio Sanatorium (1933) or Villa Mairea (1939) embody a masterful interplay of organic volumes, forms and materials. Aalto’s Paimio Chair (1931–1932) and his Stool 60 (1933) were milestones in the development of modern furniture, and his emblematic Savoy Vase (1936) has become the symbol of Finnish Design. With »Alvar Aalto – Second Nature«, the Vitra Design Museum is now presenting a major retrospective exhibition on this legendary architect and reveals many new aspects of his oeuvre.

    While previous exhibitions and publications have regarded Aalto’s organic architectural language as having been derived directly from Finnish nature and landscape, »Alvar Aalto – Second Nature« takes a new, more contemporary look at Aalto. The exhibition explores how Aalto’s affinity for organic form was mediated through a close dialogue with many artists of his time, such as László Moholy-Nagy, Jean Arp, Alexander Calder or Fernand Léger. Works of these and other artists are juxtaposed with Aaltos designs and buildings, illustrating his significance as a figurehead of the international art and architecture Avant-Garde from the 1920s onwards.

    The cosmopolitan Aalto, who had a strong interest in cinema, film, photography and theater, quoted Fernand Léger by calling himself a »chef d’orchestre« conducting all the arts to synthesize a harmonious, symphonic whole. He created living spaces that appear warm and organic, saturated with a masterful combination of volumes and building materials, terraced floors and ceilings, and a choreography of daylight and electric light — an environment which transformed inspirations from art and natural forms into a »second nature« for modern man. This approach is exemplified in projects like his early Vyborg Library (1927-1935), but also in large-scale buildings such as Kulturzentrum Wolfsburg (1958-1962). From door handles and lighting fixtures to built-in furniture, Aalto frequently designed the interiors of his buildings down to the smallest detail. In 1935, with the aim to produce and promote his own furniture designs, Aalto founded Artek, conceived as both an international furniture company and as a gallery, with his wife Aino and two collaborators. Artek soon became a prestigious address for modernist Avant-Garde culture and developed – in Aaltos words – »mondial activities«.

    The expansion of Artek reflected Aalto’s large international network, which also guaranteed him influence on social and political debates and led to commissions in countries such as Italy, Switzerland, France, Germany and the USA in the postwar period. Aalto designed such diverse projects as standardized and prefabricated housing systems in Finland as well as an apartment building in Berlin’s Hansaviertel for the international building exhibition »Interbau« in 1957. Aalto’s prolific career spans a period from the early 1920s until the 1970s, spawning over 400 buildings and dozens of furniture pieces, glass objects and lights. It culminated with large-scale commissions like Finlandia Hall in Helsinki (1975), just one year prior to his death, and the Opera House in Essen, which was completed posthumously in 1988.

    »Alvar Aalto – Second Nature« provides an extensive overview of Aalto’s life and work, including historical architectural models, original drawings, furniture, lights and glassware, as well as works by other acclaimed artists like Alexander Calder or Jean Arp. The exhibition covers Aalto’s most iconic buildings and designs, but also lesser known projects like his Experimental House in Muuratsalo (1952-1953), an extraordinary composition of different materials which appears like a 21st century architectural collage. The exhibition’s new perspective on Aalto is emphasized by the work of German artist Armin Linke, who has been commissioned to produce new photographs and films of selected buildings. Linke’s works appear throughout the entire exhibition setting, in dialogue with historic and archival material from the Alvar Aalto Foundation and other international lenders.

    Each of the four spaces in »Alvar Aalto – Second Nature« focuses on different thematic aspects of Aalto’s life and work in loosely chronological order. The first space is concerned with Aalto’s early work up to the legendary design of the Paimio sanatorium (1928-1933). This part of the exhibition traces vividly how Aalto’s work evolved towards the modern movement. The second space revolves around Aalto’s relationship with art and his dialogue with important artists of his time. This is illustrated by individual artworks – such as works pieces by Alexander Calder and Jean Arp – and through an in-depth presentation of two key works, Villa Mairea (1938/39) in Noormarkku, Finland and Maison Louis Carré (1956-1959, 1961-1963) in Bazoches-sur-Guyonne, France.

    The third exhibition space approaches Aalto as a designer of furniture, lights and glass objects. It surveys the history of the gallery and furniture company Artek, which was co-founded by Aalto. The fourth and final space is dedicated to Aaltos international ascent in the post-war period and his large-scale projects in architecture, city and masterplanning. Examples of this work are Baker House student dormitory (1946-1949) at Massachusetts Institute of Technology (MIT; Cambridge, MA, USA),
    an apartment building in Berlin’s Hansaviertel (1955-1957) which was built as part of »Interbau« building exhibition in 1957, as well as the Wolfsburg Cultural Centre (1958-1962).

    The exhibition is accompanied by an extensive catalogue of 688 pages. It includes essays by ten authors such as Eeva-Liisa Pelkonen, Akos Moravanszky, MoMA curator Pedro Gadanho and interviews with Kenneth Frampton and Álvaro Siza, as well as a list of selected exhibits with numerous never-before-seen original drawings and architectural models from the archive of the Alvar Aalto Museum.

    The events programme accompanying the exhibition will include lectures and discussions with Shigeru Ban, Claesson Koivisto Rune, Front Design, Harri Koskinen, Matthias Sauerbruch, architecten de vylder vinck taillieu and many others.

     

  • Art Basel

    Basel | Dates: 18 – 21 Jun, 2015

    Welcome to the premier international art show of its kind for Modern and contemporary works, bringing leading galleries from around the world to the heart of Europe. The exhibition includes the highest-quality paintings, sculptures, drawings, installations, photographs, video and editioned works.

    Basel is uniquely situated at the border between Switzerland, France and Germany. With its world-class museums, theaters, concert halls, medieval old town, and new architecture, it ranks as one of Europe’s most alluring cultural cities.

    Art Basel has been described as the ‘Olympics of the Art World’. Approximately 300 leading galleries from North America, Latin America, Europe, Asia, and Africa show the work of more than 4,000 artists, ranging from the great masters of Modern art to the latest generation of emerging stars. 

    The show's individual sectors represent every artistic medium: paintings, sculpture, installations, videos, multiples, prints, photography, and performance. Each day offers a full program of events, including symposiums, films, and artist talks. Further afield, exhibitions and events are offered by cultural institutions in Basel and the surrounding area, creating an exciting, region-wide art week.
  • Provocations: The Architecture and Design of Heatherwick Studio

    Dallas | Dates: 13 Sep, 2014 – 04 Jan, 2015
    British designer Thomas Heatherwick has been hailed as a genius, lauded by The New Yorkerarchitecture critic Paul Goldberger for the uniquely inventive nature of his work, and praised by esteemed designer Sir Terence Conran as the “Leonardo da Vinci of our times.”

    This exhibition, the first North American museum presentation of the work of Heatherwick and his studio, examines the astonishing range of Heatherwick Studio’s practice by focusing on the design concepts behind early projects such as the handbag designed for Longchamp and the rotation-molded “Spun” chairs, as well as current large architectural projects in the U.K., South Africa, Abu Dhabi, Singapore, and China. Included will be such projects as the U.K. Pavilion — known as the Seed Cathedral — at the 2010 Shanghai World Expo; a distillery and visitor center for Bombay Sapphire Gin in Hampshire, England; a teaching building at Nanyang Technical University, Singapore; and a mixed use complex in Shanghai.

    The studio’s design of the New Bus for London recently took to the streets of the British capital, and the ceremonial lighting of its cauldron designed for the London 2012 Olympic Games was broadcast worldwide, bringing the studio to the attention of a much wider public.

    Heatherwick Studio is recognized for its highly inventive approach to design, often combining novel engineering with new materials and innovative technology to create unusual, often sculptural, building forms. The project that first garnered Heatherwick international recognition was the Rolling Bridge near London’s Paddington Station. Asked to design a bridge to span a small channel through which boats pass, Heatherwick realized that most drawbridges are unattractive when raised.  Wanting the bridge to be as beautiful when spanning the channel as when raised for water traffic, he designed a unique mechanized structure that rolls up into a circular snail-like form.

    Organized by guest curator Brooke Hodge for the Nasher Sculpture Center, the exhibition will include prototypes, large-scale models, objects, photographs, and film and video footage for a selection of projects.

    A special section of the exhibition, presented in the Nasher’s Lower Level Gallery, will focus on the creative process that underlies all of the studio’s extraordinary designs. The exhibition will travel to the Hammer Museum in Los Angeles and Cooper-Hewitt, National Design Museum in New York after its presentation in Dallas.

  • Provocations: The Architecture and Design of Heatherwick Studio

    Los Angeles | Dates: 20 Feb – 24 May, 2015

    This February, the Hammer Museum will present the West Coast debut of Provocations: The Architecture and Design of Heatherwick Studio, featuring the imaginative work of British designer Thomas Heatherwick and his London-based studio. Heatherwick is known for his unique design concepts ranging from products, such as a handbag for Longchamp, to large-scale structures like the new distillery for Bombay Sapphire Gin.

    On view at the Hammer from February 20 to May 24, 2015, Provocations will feature a selection of Heatherwick Studio’s projects through the display of prototypes, large-scale models, objects, photographs, and film and video footage.

    “Provocations is an extraordinary exhibition that brings the talent and versatility of Heatherwick Studio to the audiences of Los Angeles,” remarks Hammer director Ann Philbin. “This exhibition will be an eye-opener for many visitors at the Hammer who are able to take a close look at the British designer’s creative process and remarkable products and buildings.”

    Heatherwick Studio, established in 1994, is recognized for its highly inventive approach to everyday design challenges, frequently combining novel engineering with new materials and innovative technology to create unusual, often sculptural, building forms. The project that first garnered Heatherwick international recognition was the Rolling Bridge which crosses London’s Grand Union Canal near Paddington Station. Asked to design a bridge to span the small channel through which boats pass, Heatherwick acknowledged that most drawbridges are unattractive when raised. His solution was to create an eight-part section of the bridge using hydraulic pistons that eliminated the need for visible cables and piers. The bridge’s unique motion, which rolls up into a circular snail-like form, continues to attract crowds and won the 2005 British Structural Steel Award.

    Thomas Heatherwick, born in 1970, has received international acclaim in the design and architecture community resulting in numerous accolades for his innovative work. Named an Honorary Fellow of the Royal Institute of British Architects, RIBA, Heatherwick has been awarded the Prince Philip Designers Prize, was appointed a Royal Designer for Industry and received the RIBA’s Lubetkin Prize, the London Design Medal, and a CBE for his contribution to the design industry.

    “I’ve followed Thomas Heatherwick’s work since 2003 and I believe he is one of the most brilliant designers of our time. In fact, I share the opinion expressed by his mentor, fellow British designer Sir Terence Conran, who has called him ‘the Leonardo da Vinci of our times’ for his complex ideas and keen sense of construction,” said exhibition curator Brooke Hodge. “I am thrilled that the Hammer has the opportunity to present Heatherwick’s ideas and designs to Los Angeles through this unique exhibition.”

    This exhibition examines the astonishing range of Heatherwick Studio’s practice by focusing on the design concepts behind early creations such as the rotation-molded “Spun” chairs as well as current large public and private architectural work in the U.K., South Africa, Abu Dhabi, Singapore, and China.  Included will be such projects as the U.K. Pavilion— known as the Seed Cathedral—at the 2010 World Expo; a Learning Hub for Nanyang Technological University; and a contemporary art museum created within a grain silo.

    Among Heatherwick Studio’s latest high-visibility designs that will be on view as part of the Hammer installation are the 2012 redesign of London’s double decker buses, known as the New Routemaster, and the cauldron for the internationally televised ceremonial lighting of the London 2012 Olympic Games torch.

    Organized by the Nasher Sculpture Center, Dallas, Provocations is curated by Brooke Hodge, deputy director of Cooper Hewitt, Smithsonian Design Museum. The Hammer’s presentation is organized by curator Aram Moshayedi.

    Provocations is currently on view at the Nasher Sculpture Center, Dallas through January 4 and travels to the Cooper Hewitt, Smithsonian Design Museum in New York after the Hammer from June 21 to October 25, 2015.

  • CFP: CAAD Biannual Conference: Place (Austin, 12-15 Nov 15)

    Austin | Dates: 16 Dec, 2014 – 30 Apr, 2015

    Austin, Texas, November 12 - 15, 2015
    Deadline: Apr 30, 2015
    PLACE: Image, Text & Performance

    The Center for Art of Africa and Its Diasporas (CAAD) at the University of Texas at Austin is inaugurating its 1st Biannual conference with the question about “place.” We invite rigorous considerations of the notion of “place” and its relationship between particular political, social, and geographic locations, and the visual cultures of Africa and the African diasporas. The notion of “place” simultaneously serves as a physical and a conceptual framework, an action and location, a site and a citation. In an increasingly globalizing world, how does one grapple with alternative spaces created by displacement, international travel, and social media?

    We welcome artists, collectors, curators and scholars to submit a 150-300-word abstract, CV/resume to: caadconference@austin.utexas.edu by April 30, 2015.

    Please e-mail us if you are interested in chairing a panel, organizing a panel session, or for more information about our panel expectations.

  • Doris Duke’s Shangri La: Architecture, Landscape, and Islamic Art

    Honolulu | Dates: 12 Feb – 07 Jun, 2015

    This showcase of objects of Islamic art from the spectacular Honolulu home of philanthropist and art collector Doris Duke (1912-1993) also includes new works by eight contemporary artists of Islamic background, all of whom have participated in Shangri La’s artist in residency program.

    The works from Duke’s personal collection are being shown outside of Shangri La for the first time, in an exhibition that was organized on the centenary of her birth. After travelling nationally for two years, the show ends its journey in the objects’ “home”—Honolulu. Large-scale, newly commissioned photographs by Tim Street-Porter establish the context of the legendary five-acre property of Shangri La.

    Open to the public under the auspices of the Doris Duke Foundation for Islamic Art (DDFIA), Shangri La today maintains a collection of some 2,500 objects. With the estate able to accommodate approximately 20,000 visitors a year, the exhibition Doris Duke’s Shangri La is an extraordinary opportunity for thousands more to experience what guest curators Donald Albrecht and Tom Mellins call the “inventive synthesis” of architecture, landscape, and Islamic art that Duke achieved. In addition, the exhibition is a must-see even for those who have visited the Diamond Head property—most of the works in the show are not on view at Shangri La.

    The contemporary works in the exhibition are by Ayad Alkadhi, Zakariya Amataya, Afruz Amighi, Shezad Dawood, Emre Hüner, Walid Raad, Shahzia Sikander, and Mohamed Zakariya.

  • Art Deco Hawai‘i

    Honolulu | Dates: 03 Jul, 2014 – 11 Jan, 2015

    The Honolulu Museum of Art presents Art Deco Hawai‘i, the first major museum exhibition to focus on the seductive Hawaiian take on the international Art Deco style, which flourished in the islands from the 1920s to the 1940s.

    At once contemporary, classicizing, eclectic, and adaptable, Art Deco manifested itself in Honolulu and its environs as a schematized visual language based on the natural beauty and fabled past of the islands. As such, it served as a motivating source for modernism in the fine arts and a sustaining mode for constructing “paradise” for the tourism and advertising industries.

    Art Deco Hawai‘i brings together a rich and representative array of paintings, sculpture, and works on paper to show how artists active in Hawai‘i during the interwar period—long considered to be isolated, conservative practitioners of watered-down avant-garde formulae—adapted the conventions of abstraction to the Deco aesthetic and developed a regional form of modernism centered on the islands’ singular sense of place.

    At the core of the exhibition are two mural cycles—Eugene Savage’s six canvases created for Matson (on public view for the first time) and large-scale paintings by Arman Manookian that until 2010 hung at the Hana Hotel on Maui—both of which romanticize Hawai‘i’s early history as a celebratory spectacle of color, pattern, and movement within the Deco aesthetic. Works by Marguerite Blasingame, Robert Lee Eskridge, Cornelia McIntyre Foley, John Kelly, Genevieve Lynch, Lloyd Sexton, Madge Tennent, Georgia O’Keeffe, and others round out the exhibition and demonstrate how Hawai‘i’s most renowned 20th-century artists similarly applied Deco’s lyricism and elegance to create works that pictured the islands as a peaceful, timeless, and breathtaking locale that resonated with widespread cultural nostalgia for a perceived and distant “Old Hawai‘i.”

    A section of Art Deco Hawai‘i devoted to architecture, the decorative arts, advertising, and consumer products, illustrates the breadth of Art Deco’s presence in the Hawaiian market and its influence as a visual framework for dominant discourses on Hawai‘i, regardless of their accuracy. Through documentation of architectural and public art projects, and examples of jewelry, furniture, utilitarian objects, and graphic design, this section of the exhibition  demonstrates how Deco was coopted in efforts to conjure and perpetuate an image of Hawai‘i as an Arcadia unspoiled by the urbanization that was ultimately transforming it, and thereby assert the allure of the islands for a mainland consumer class seeking exotic goods and luxury travel.

  • An Eloquent Modernist: E. Stewart Williams, Architect

    Palm Springs | Dates: 09 Nov, 2014 – 22 Feb, 2015

    An Eloquent Modernist: E. Stewart Williams, Architect, provides a comprehensive retrospective of Williams’s creative output and affords a view of his role in the development of modern architecture in Palm Springs. It includes drawings, renderings, models, photographs, watercolors, etchings, and film clips to illuminate his artistic sensibility and proficiency with diverse of media. Since he created his architectural drawings on a drafting table, before the wide-spread use of the computer, he often remarked that, “It’s amazing what a pencil can do.” Featuring a selection of projects, the exhibition highlights Williams’s approach to architecture that: buildings should naturally inhabit their sites and be in concert with their environment.

    Joining his father Harry and brother Roger in architecture practice, the three men formed Williams, Williams, and Williams in 1946. Locals referred to the firm as “Williams cubed.” Working in a rapidly expanding community after World War II, they were offered a variety of commissions, Stewart serving as the design partner. From his first house, the Frank Sinatra Residence, in 1947, to his last projects in the 1990s, he designed numerous homes as well as hospitals, schools, colleges, civic buildings, and banks, bringing to each project his careful attention to siting, details, client program, and function.

    In addition to his architectural practice, he was active in the Coachella Valley and beyond, lecturing on the need for public understanding of city planning to protect the environment. He articulated an early awareness of the impact of urban sprawl on traffic, smog, and land use. As chairman of the Downtown Collaborative, he along with six of the leading Palm Springs architects, devoted four years studying the central core of the city and making recommendations on building clusters, parking, density, pedestrian walk-ways, open space, and view corridors. The plan was not adopted and now, more than fifty years later, one of his buildings on the main street is being transformed from a bank into the Architecture and Design Center, Edwards Harris Pavilion.

    His two largest and most complex projects, the Palm Springs Art Museum and Crafton Hills College in Yucaipa, reveal both his commitment to creating inviting and people-friendly spaces. As a dedicated modernist, his designs contain elegant details, warm materials, and a connection between interior and exterior.  It was Williams’s ability to communicate his ideas clearly, combined with his easy charm that made his passion for architecture infectious.

    In addition to a fully illustrated catalogue available for purchase in The Museum Store and the A+D Center, a film documenting Williams’s life has been produced by Design Onscreen.

    This exhibition is organized by Palm Springs Art Museum and funded by the Architecture and Design Council, Mark E Pollack, Elizabeth Edwards Harris, Phillips, Richard Lord and Brian Schipper, Roswitha Smale, Brent Harris, Donald Wexler, J.R. Roberts, and Tom and Marianne O'Connell 

    Exhibition Season Sponsors: Dorothy and Harold J. Meyerman and Arlene Schnitzer

    The fully illustrated catalogue for this exhibition will be available for purchase at the Bradford W. Bates Vault: Museum Design Store (760-322-4897) and at Palm Springs Art Museum Store (760-322-4830).

  • Lecture: Taliesin East and West

    Los Angeles | Dates: 24 Feb, 2015
    Lecture by Sean Malone
    Tuesday, February 24, 2015 • Lecture: 7:00 p.m.
    Eagle Rock Center for the Arts/Carnegie Library
    2225 Colorado Blvd., Los Angeles, CA 90041

    Built on land whose beauty would inspire Frank Lloyd Wright’s architectural philosophy, Taliesin (1911) is perhaps the most personal of Wright’s works. Taliesin served as Wright’s main residence and the summer home of the Taliesin Fellowship until 1937, when Wright built his oasis in the Arizona desert, Taliesin West, to serve as his winter residence.

    Join us as we look at these two Wright masterworks, Taliesin East and West, and discuss their relationship to the unique natural environments in which they were built, the distinct design elements that are their hallmarks, the culture that thrived at each site and the journey to restore these masterpieces.

    About the Lecturer: Sean Malone is President and CEO of the Frank Lloyd Wright Foundation. During Malone’s tenure, the Foundation has performed such mission-critical work as establishing a joint stewardship of the Frank Lloyd Wright Foundation Archives between the Foundation, the Museum of Modern Art, and Columbia University’s Avery Architectural & Fine Arts Library; an in-depth Preservation Master Plan program to define how Taliesin West will be preserved for generations to come; and much more.

    About the Venue: Built in 1914 as the the Carnegie Library, the Eagle Rock Center for the Arts/Carnegie Library was originally one of 142 public libraries built from 121 grants (totaling $2,779,487) awarded by the Carnegie Corporation of New York from 1899 to 1917. The original Mission/Spanish Colonial Revival structure, with an enclosed arcade, was designed by W. E. Kleinpell and is currently the Eagle Rock Community Cultural Center, run by a partnership between the City of Los Angeles Cultural Affairs Department and the Eagle Rock Community Cultural Association.

  • Groundswell: Guerilla Architecture in Response to the Great East Japan Earthquake

    West Hollywood | Dates: 25 Oct, 2014 – 04 Jan, 2015

    The Great East Japan Earthquake of 2011 moved the main island of Japan 8 feet east and shifted the Earth on its axis by estimates of between 4 and 10 inches. The 40-foot-high tsunami that hit the shore 30 minutes later wiped out a 500-kilometer stretch of coastline, and caused the failure of the cooling system at the Fukushima Daiichi Nuclear Power Plant. More than 20,000 people died and 470,000 lost their homes. Four trains carrying 2,654 people traveling along the Miyagi coastline vanished without a trace.

    Groundswell: Guerilla Architecture in Response to the Great East Japan Earthquake displays architecture in action. Frustrated by the slow and inept government response to this natural catastrophe, a number of architects took it upon themselves to address the trauma and rebuilding needs of area residents. Groundswell presents a selection of their efforts as it engages the ongoing conversation of how architecture can serve communities following a natural disaster. The exhibition features works by artist Hiroyasu Yamauchi, and architects Hitoshi Abe, Manabu Chiba, Momoyo Kaijima and Yoshiharu Tsukamoto (of Atelier Bow-Wow), Senhiko Nakata, Osamu Tsukhashi, andRiken Yamamoto.

    About Groundswell

    After the tsunami, architects quickly realized that government solutions–such as building massive sea walls to contain future tsunamis–represented blunt force, literal, and ultimately unsatisfactory solutions to a much more complicated problem. It became clear that what was needed was a ground-up, multi-disciplinary platform from which designers, educators, and other experts could work with community members to devise short, medium, and long-term strategies for dealing with these kinds of disasters. Histories, processes, characteristics, and voices of local regions would need to be part of the program. The organization ArchiAid formed from this position, and seeks to provide ways for architects and citizens to think through their domestic and collective space in light of an ever-shifting planet. Most of the projects in Groundswell were developed under the auspices of ArchiAid.

    Organized by MAK Center Director Kimberli Meyer and advised by Hitoshi Abe, this exhibition looks at architecture in four ways: as grief work, as collaborative process, as compromise, and as social-geographical event. Grief is powerfully felt in a model of Kesennuma City, one of dozens of models of fallen towns recreated first from research data and then augmented with the memories of former inhabitants. Constructed by Osamu Tsukhashi and students, the model’s color and physical details were supplied by citizens, who also contributed their personal memories of places and events. These are transcribed on small flags that dot the model. Photographs shot by Hiroyasu Yamauchi the day after the tsunami further underscore the emotional devastation wrought by events.

    A group effort, A Pattern Book for Reconstruction Planning, is an analysis by architects and planners to help disaster victims understand their towns and homes and create a shared vision for renewal. Developed in a workshop process, the pattern book explores ways in which fishing villagers might like to both recreate and alter their environments. Groundswell presents two main sections of the book, laid out with translations of commentary and explanations. The Core House is a prototype developed from the pattern book workshops and can be seen in photographs and drawings. To date, two of these basic, repeatable homes have been constructed on the Ishimaki peninsula as well as another in Fukushima. The Core House project is led by Momoyo Kaijima and Yoshiharu Tsukamoto, principals of Atelier Bow-Wow.

    Compromise informs the valiant efforts of architects Hitoshi Abe, Manabu Chiba and Riken Yamamoto in their encounters with both temporary housing and design/build housing towers, both built under the direction of the Japanese government. Here, the unremarkable structures are treated as found objects to be gently but profoundly altered. One of the big problems of these standard building types is that they lack the social spaces key to daily village life, which leads to isolation and eventually a higher suicide rate. Each of the architects transformed the idea of an engawa–transition spaces between public and private spheres in traditional Japanese homes that take the form of benches, porches or stoops–into large scale versions that can function for a group of housing blocks. Adding such connective tissue to the austere towers is a simple but successful way to bring crucial design tenets into a system dominated by bureaucracy and value engineering.

    Social and geographical interests are seen in the photographic documentation of an annual bicycle tour led by Manabu Chiba through tsunami–affected areas. Promoting tourism and functioning as consciousness raising events, these trips served to make people from other regions–many who had never visited the remote area–familiar with the Oshika Peninsula. Similarly, Senhiko Nakata and his students looked for ways to connect with the displaced coast dwellers. They hit upon the idea to design traditional Japanese towels, made in partnership with the affected communities, and created to benefit tsunami victims. Three annual editions of these collectible towels will be on view, and available for purchase. 

  • COMPUTATIONAL DESIGN CULTURE. Scripting, Simulation, and the Making of Architecture

    Lüneburg | Dates: 16 – 17 Jan, 2015
    MECS Institute for Advanced Study on Media Cultures of Computer Simulation Leuphana University Lüneburg This 1.5-day conference will bring together architects, engineers, software developers and scholars of architectural theory, philosophy of science, and media studies to explore how and in what particular manner computer simulations and scripting techniques have an epistemic and aesthetic impact on the design and making of architecture. Papers and project presentations will offer an insight into the novel modes of code-controlled design and production by discussing the various methods, approaches, strategies, and translations involved within computational processes and fabrication tools. The conference aims to discuss a series of issues that include (but are not limited to) the following questions: How and why do architects and engineers integrate computer simulations in their design and planning processes? What are the selection criteria for parameters and algorithms and how do they have an agency within a simulation or script? How do software and scripting contribute as tools and mediums to analysis, design, and fabrication and what are the implications for architects and engineers in becoming programmers and software developers? What is the potential of design computation for the improvement of communication and collaboration between architects, engineers, and programmers? Furthermore, what are the characteristics of a computational design culture and how do algorithmic practices and techniques affect the ways we describe, experience, and discuss architecture? CONFERENCE SCHEDULE FRIDAY, JANUARY 16, 2014 09:30 – 10:00 Coffee and Registration 10:00 – 10:15 WELCOME Claus Pias & Martin Warnke, Directors, MECS Institute for Advanced Study on Media Cultures of Computer Simulation, Leuphana University Lüneburg OPENING REMARKS Nicole Stöcklmayr, MECS Institute for Advanced Study on Media Cultures of Computer Simulation, Leuphana University Lüneburg 10:15 – 11:00 Achim Menges (Institute for Computational Design, University of Stuttgart / Graduate School of Design, Harvard University): Computational Design and Material Culture 11:00 – 11:45 Jan Knippers (Institute of Building Structures and Structural Design, University of Stuttgart / Knippers Helbig Advanced Engineering, Stuttgart, New York, Berlin): Integrative Design in a Computational Environment 11:45 – 12:00 Coffee Break 12:00 -12:45 Matias del Campo & Sandra Manninger (Taubman College of Architecture and Urban Planning, University of Michigan / Tongji University, Shanghai / del Campo Manninger Architects, Vienna, Shanghai, Detroit): Moody Objects 12:45 – 14:15 Lunch Break 14:15 – 15:00 Moritz Heimrath (Institute of Architecture, University of Applied Arts Vienna / Bollinger + Grohmann Ingenieure, Frankfurt a.M., Berlin, Vienna, Paris, Oslo, Melbourne): tba 15:00 – 15:45 Stefan Rutzinger & Kristina Schinegger (The Bartlett School of Architecture, University College London / Institute of Architectural Sciences, Vienna University of Technology / soma, Vienna, Salzburg): Alchemy and Simulation. Approaching the Formless 15:45 – 16:00 Coffee Break 16:00 – 16:45 Barbara Imhof (Institute of Architecture, University of Applied Arts Vienna / LIQUIFER Systems Group, Vienna, Mumbai): "And The Stars Look Very Different Today." Collaboration, Visualization and Simulation Methodologies in Contemporary Space Architecture Practice 16:45 – 17:00 Coffee Break 17:00 – 18:15 KEYNOTE Mario Carpo (The Bartlett School of Architecture, University College London / École d‘Architecture de Paris-La Villette, Paris): tba SATURDAY, JANUARY 17, 2014 10:00 – 10:45 Andrea Graser (Studio Okular, Vienna): Coding Light Density 10:45-11:30 Gabriele Gramelsberger (MECS Institute for Advanced Study on Media Cultures of Computer Simulation, Leuphana University Lüneburg): Life/Design/Matter – Towards a Philosophy of Parametric Thinking 11:30 – 11:45 Coffee Break 11:45 – 12:45 ROUND TABLE DISCUSSION 12:45 – 13:00 CONCLUDING REMARKS Nicole Stöcklmayr (MECS Institute for Advanced Study on Media Cultures of Computer Simulation, Leuphana University Lüneburg) The conference language is English. The event is free and open to the public but registration is required. To register, please send an email to mecs@leuphana.de Visit http://mecs.leuphana.de for details and updates. Conference venue: Stadtarchiv Lüneburg Wallstr. 4 21335 Lüneburg Concept & organisation: Nicole Stöcklmayr
  • Houghton Hall: Portrait of an English Country House

    Nashville | Dates: 13 Feb – 10 May, 2015

    This exhibition showcases the renowned collection of paintings, furniture, porcelain, silver, costumes and other decorative arts from Houghton Hall, one of England’s finest country estates. Located in Norfolk, one hundred miles northeast of London, Houghton Hall was built in the early 1700s by Sir Robert Walpole, England’s first Prime Minister. More than 150 exquisite objects will be presented in vignettes with large-scale photo murals to evoke the luxurious interior of the house, from its intimately scaled library to the grand public spaces of its Marble Parlour—with a fully set dining table—and its remarkably proportioned Stone Hall and Saloon. Specific highlights include furniture by William Kent, Sèvres porcelain and Garrard silver, as well as family portraits by William Hogarth, Joshua Reynolds and John Singer Sargent. Seen together, the items in the collection demonstrate the rarified taste and access to great makers which such aristocrats had. Assembled by eight generations of descendants of Sir Robert Walpole, including the current Marquess of Cholmondeley, this collection comprises a fascinating chronicle of English history and offers a rare glimpse into the private interior of one of Britain’s grandest country houses. 

    This exhibition was organized by the Museum of Fine Arts, Houston, in collaboration with Houghton Hall. An indemnity has been granted by the Federal Council on the Arts and the Humanities.