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  • On the Thresholds of Space-Making: Shinohara Kazuo and His Legacy

    St. Louis | Dates: 31 Jan – 20 Apr, 2014

    On the Thresholds of Space-Making surveys the work of Shinohara Kazuo (1925–2006), one of Japan’s most influential architects of the postwar generation. A mathematician turned architect, Shinohara achieved cult-figure status with his series of sublimely beautiful, purist houses designed over a thirty-year period, from the mid-1950s to the 1980s. Shinohara was also a rigorous polemicist, and through both writings and architecture he scrutinized and reframed fundamental architectural conventions, such as public / private, body / space, and openness / enclosure. His slogan “A house is a work of art” encapsulates his belief in the potential of quotidian design. His resistance to a technological approach to architectural design, one that had dominated Japan’s architectural profession since the 1920s, caused him to break away from established forms of the single-family house ubiquitous in Japan’s postwar suburbia.

    The exhibition includes original drawings and sketches rarely seen outside of Japan. These items are augmented by period photographs of Shinohara’s building projects as well as by reproductions of select models of his houses. A featured work is his House in White (1964–66), one of his most iconic, in which he rearranges a familiar design palette—a square plan, a pointed roof, white walls, and a symbolic pillar—to give the main room almost oceanic spaciousness through abstraction. The architect’s formalism—his basic explorations of geometry and color—lend his work a poetic quality that fuses simplicity and surprise, the ordered and the unexpected.

    Also showcased in the exhibition is the enduring legacy of Shinohara’s work through projects by younger Japanese architects whom he influenced: Ito Toyo (b. 1941); Nishizawa Ryue (b. 1966) of the firm SANAA; and Ishigami Junya (b. 1974). By juxtaposing Shinohara’s work with that of subsequent generations of architects, we see a clear lineage that constitutes a highly energized collective of creative talent. These architects pushed the frontiers of architectural design, unrivaled in their intellectual rigor and stylistic coherence in contemporary global practice.

    This exhibition is curated by Seng Kuan, assistant professor of architectural history at the Sam Fox School of Design & Visual Arts.

    Support for the exhibition is provided by the Sam Fox School of Design & Visual Arts and College of Architecture; the Japan Foundation; the Graham Foundation for Advanced Studies in the Fine Arts; and members of the Mildred Lane Kemper Art Museum.

  • Mario Botta: Architecture and Memory

    Charlotte | Dates: 31 Jan – 25 Jul, 2014
    Location: Fourth-floor gallery
    On View: January 31, 2014 - July 25, 2014

    Mario Botta: Architecture and Memory is an exhibition spanning the 50-year career of internationally acclaimed architect Mario Botta, the designer of the Bechtler Museum of Modern Art building and one of the century's most fundamental contributors to postmodern architecture. Featured are sketches, architectural models and photographs exemplifying Botta’s use of geometric shapes that juxtapose lightness and weight. The exhibition runs January 31, 2014 through July 25, 2014.
  • Kress Digital Mapping Summer Institute for Art Historians

    Middlebury | Dates: 31 Jan – 03 Mar, 2014
    Summer Institute on Digital Mapping and Art History Call for Applicants Middlebury College, Middlebury VT August 3-15, 2014 Middlebury College is pleased to invite applications for Fellows to participate in the first Summer Institute on Digital Mapping and Art History (August 3-15, 2014), generously sponsored by the Samuel H. Kress Foundation. Co-directed by Paul B. Jaskot (DePaul University) and Anne Kelly Knowles (Middlebury College), the Summer Institute will emphasize how digital mapping of art historical evidence can open up new veins of research in art history as a whole. All art historians of any rank (including graduate students, curators, or independent scholars) with a scholarly problem related to spatial evidence or questions are encouraged to apply. Whether talking about the spreading influence of Rembrandt’s workshop, Haussmann’s Plan of Paris, the Roman Forum, the caves of Dunhuang, the views of Edo, the market for Impressionist painting, the looting of assets by Napoleon, the movement of craftsmen over the medieval pilgrimage road, or the current proliferation of art expos globally, art history is peppered with spaces, both real and imagined. As such, spatial questions are central to many art historical problems, and visualizing spatial questions of different physical and temporal scales is an intellectual and technical problem amenable to the digital environment. Building the capacity to think spatially in geographic terms will carry an art historian a long way towards developing sophisticated questions and answers by exploiting the digital environment. At the end of the two-week period, Fellows will have a grounding in the intellectual and historiographic issues central to digital humanities, basic understanding of the conceptual nature of data and the use of a database, an exposure to important examples of digital art history in the field, and a more in-depth study of one particular digital approach (GIS and the visualization of space). Graduating Fellows will have the vocabulary and intellectual foundation to participate in on-going digital humanities debates or other specialized digital humanities workshops while also gaining important practical and conceptual knowledge in mapping that they can begin to apply to as scholars and teachers. Given this focus, our Institute will be ideal for those art historians who already have identified a spatial problem in their work. Note, though, that no prior knowledge or experience in digital humanities will be necessary or assumed for the application process. Naturally, general awareness of the scholarly potential of the digital environment or mapping will be a plus. All geographies, time periods, and subareas of art history will be considered. For more information on the application process, see: http://las.depaul.edu/haa/docs/fulltime/Digital_Mapping_flyer.pdf For questions, please contact at any time the co-directors (Paul B. Jaskot, pjaskot@depaul.edu; Anne Kelly Knowles, aknowles@middlebury.edu ). All materials must be sent electronically by March 3, 2014. Paul B. Jaskot Professor of Art History DePaul University Chicago, IL 60614 pjaskot@depaul.edu