Recent Opportunities

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  • Historic Preservation Education Foundation - Partners in Training Call for Proposals

    Dates: 23 Jul – 03 Oct, 2017
    The Historic Preservation Education Foundation (HPEF) is currently accepting proposals for the Fall 2017 round of its Partners in Training initiative. HPEF established Partners in Training in 2014 to support training opportunities on topics associated with preservation technology. Partners in Training seeks to replicate the success HPEF has enjoyed working with other institutions and organizations in the past.

    HPEF invites educational institutions and nonprofit organizations based in the United States to submit training proposals that address specialized topics associated with the technical aspects of preservation projects. For grant recipients, HPEF’s contribution may include administrative as well as initial financial support. Administrative support can include participation in event planning, registration functions, and, as appropriate, assistance in online or print publication of materials prepared for the initiative. Initial financial support includes seed money to fund initial tasks. Grant recipients will assume all other responsibilities including marketing; coordination of onsite aspects associated with the venue; project budget; and staffing.

    The deadline for submissions is October 3, 2017. Grant recipients will be announced on/around December 1, 2017.

    Additional information can be found on the HPEF website: www.hpef.us or by writing info@hpef.us.
  • Speech Balloons and Thought Bubbles: Architecture and Cartoons

    Dates: 21 Jul – 14 Aug, 2017
    Society of Architectural Historians
    Speech Balloons and Thought Bubbles: Architecture and Cartoons
    Chair(s): Andreea Mihalache, Clemson University, amihala@clemson.edu ; Paul Emmons, Virginia Polytechnic Institute and State University, pemmons@vt.edu

    The intersections of architecture and comics have a history that has been increasingly documented in recent years. A mode of representation and communication becoming popular as a counterpart to mainstream depersonalized computer-generated drawings, cartoons and comic strips offer opportunities otherwise missing from conventional architectural drawings: storytelling, conciseness, immediacy, irony, and humor. Conversely, cartoons, comic strips, and graphic novels often foreground architecture as a main character that embodies the anxieties of the modern world, a discontent with the status quo, or representations of visions of the future. We are interested in work that examines the particular worldviews revealed between the lines of speech bubbles and thought balloons. As drawing conventions strive to eliminate subjectivity for the sake of clarity, how do comic strips build architectural atmospheres charged with emotion and feeling? How do cartoons and comic strips question the boundary between real and imaginary, between the concrete nature of architecture and its storytelling potential? What are their limitations? With closeup images often focusing on people in movement, what is the role of the body in unfolding graphic stories about architecture and cities? If tweets, texts, and instant messages now constitute universal forms of conversation, how do these drawings become time and place specific and create complicities based on shared worldviews? We invite papers and artwork that discuss critically the interactions of architecture, cartoons, and comic strips across time and space.
  • The Evolution of Oak Park Coach Houses

    Oak Park | Dates: 24 – 24 Sep, 2017
    The Pleasant Home Foundation is pleased to announce a tour of eight coach houses in Oak Park, many of which are open to the public for the first time. This interior, docent-led tour will cover uniquely designed spaces adapted for modern reuse. Guests will view coach houses that have been transformed into a music studio, party room, art museum, residence and more. Additionally, an antique automobile will be featured at each location for viewing (weather permitting).
    The event includes a complimentary tour of Pleasant Home, designed in 1897 by Prairie School Architect George W. Maher. The 4.43 acre estate, now a public park, originally included several structures which were razed over 50 years ago, including a conservatory, sculptured fountain, tennis court and, of course, a magnificent coach house. Historic photos of the grounds and structures will be available for viewing.
    The tour will take place from 10:00 a.m. – 3:00 p.m. on Saturday, September 24. Registration begins at 9:00 a.m. at Pleasant Home, 217 Home Avenue, Oak Park, Ill. Tickets may be purchased in advance or at the door; ticket cost is $40.00 for members and $45.00 for non-members.
    Proceeds from the tour will benefit the Pleasant Home Foundation and its work to preserve, restore, and operate Pleasant Home.
    For more information on the tour, please visit pleasanthome.org. Interior photographs of the coach houses are available upon request.
    ---
    About the Pleasant Home Foundation
    Pleasant Home, a National Historic Landmark, is also known as the John Farson House and is located in the heart of historic Oak Park, Illinois. The residence was designed in 1897 by Prairie School architect George W. Maher for investment banker and philanthropist John W. Farson. The Pleasant Home Foundation was established as a non-profit organization in 1990 and is dedicated to preserving and restoring this 30-room architectural treasure.
  • CFP: Material Culture (Indianapolis, 28-31 Mar 18)

    Indianapolis | Dates: 20 Jul – 01 Oct, 2017

    Material Culture

    CALL FOR PROPOSALS: PANELS AND PAPERS

    The Material Culture Area of the PCA/ACA (Popular Culture Association & American Culture Association) invites proposals for papers to be presented at the 2018 National Conference in Indianapolis, Indiana, March 28-31, 2018.

    DEADLINE: 1 OCTOBER 2017

    The study of material culture offers an exciting area for interdisciplinary research and conversation, as it brings together those engaged in scholarly inquiry in areas as diverse as history, art history, design, decorative arts, cultural studies, consumer studies, literature, communications, anthropology, sociology, and beyond. Of particular interest are papers that address human-made material objects as primary source material for anthropological, geographical, sociological, historical, or area studies; papers that refer to contexts of various sorts in order to determine the origins, functions, or uses of human- made material objects; or methodological papers that theorize and critique “material culture” as a discipline for humanistic inquiry.

    Past presentations in this area have focused on decorative arts and the construction of literary characters; the material culture of poverty; commemorative items; historic and modern furnishings; fashion, branding, and marketing trends; manufactured homes and representations of the translocal… even the design of airport shopping “malls”! Professional academics, graduate students, museum professionals, and independent scholars are all encouraged to apply.

    Considering proposals for sessions organized around a theme, special panels, and/or individual papers. Sessions are scheduled in 1½ hour slots, typically with four papers or speakers per standard session. Presentations should not exceed 15 minutes. Proposals should take the form of an abstract of up to 250 words and must be submitted electronically by 1 October 2017. To submit your proposal, go to https://conference.pcaaca.org / and follow the instructions for creating an account. All submissions must be made through the conference submission site.

    For additional information about the PCA/ACA and its annual conference, visit http://pcaaca.org/national-conference/.  Please be sure to select “Material Culture” as the area to which you submit your abstract. Questions or concerns may be sent via email to the Area Chair for Material Culture,

    Heidi C. Nickisher, Ph.D. School of Art -- Art History
    College of Imaging Arts & Sciences | RIT 73 Lomb Memorial Drive
    Rochester, NY 14623-5603
    Office: 585.475.4996 | fax: 585.475-6447

  • EAUH 2018 - Urban Renewal and Resilience: Cities in Comparative Perspective

    Rome | Dates: 20 Jul – 05 Oct, 2017

    EAUH 2018 welcomes paper proposals for the conference sessions.

    To submit a paper proposal, registration is required. Paper proposals and full texts can only by submitted online, via the EAUH2018 website https://eauh2018.ccmgs.it/users/. If sent by post or email will not be accepted.

    Abstracts of paper proposals should not exceed 450 words.

    Start of paper proposals submission: June 1, 2017

    Deadline for paper proposals submission: October 5, 2017

    Notification of paper acceptance: December 1, 2017

  • WRIGHT there - Exhibition / Sale

    New York | Dates: 20 – 29 Jul, 2017

    WRIGHT there
    lithographs from 1910 Wasmuth folio and
    limited edition prints(1977 & 1980) of drawings from Taliesin archives -Exhibition / Sale

    On view from Thursday July 12-29, 2017
    SPACED:   Gallery of Architecture
    542 Cathedral Parkway (W.110 St- near #1 subway)
    For hours or appointment: (212) 787-6350    jyorknew@verizon.net
    RECEPTION:Saturday July 15& 29 2-5 PM Wednesday July 26 4-8PM
    Thursday July 13 & 20 -4 to 8 PM    
    Judith York Newman- Architect/Director

    A visual journey to the many architectural creations over an amazing span of 56 years beginning in 1901 in Chicago.

    This exhibition  and sale covers a full range of Wright’s career in two formats. The Wasmuth Folio considered an aesthetic treasure trove of the earlier work is a valuable collection of lithographs. Subtle line drawings in brown, gray and even gold ink are convincing evidence of the impact of the Japanese print on Wright’s work. Not only is there a similarity in the sensibility of the design but the composition including the views and placement are strikingly similar.Historic woodcuts from Kyoto are on view as is dinnerware designed for the Imperial Hotel in Tokyo.

    Also apparent is the wide geographic scope of Wright’s work from the early Prairie Houses in Illinois to architecture in Buffalo, Wisconsin, Arizona,  Montana and California. These  color prints are from the Selected Drawings Portfolios.

  • New Buildings in Old Cities: Reconsidering Context in Historic Settings

    Chicago | Dates: 10 – 10 Aug, 2017
    "New Buildings in Old Cities: Reconsidering Context in Historical Settings"  There is an ongoing debate within the preservation and design communities about the most appropriate way to make additions to historical structures or new infill construction in historic districts.  Official regulations like the Secretary of the Interior's Standards for Rehabilitation ask that new work be both "differentiated" and "compatible," but responses to these criteria have varied from close imitation of pre-existing buildings to designs featuring forms and materials in marked contrast to the older ones.  What are the most appropriate approaches that maintain the historic character of a place without unduly limiting the judgement of contemporary designers?  This lecture will suggest some answers based on current international guidance for historic preservation and urban conversation.
  • VRA Foundation Internship in Visual Resources and Image Management

    Dates: 20 Jul – 18 Aug, 2017
    The Visual Resources Association Foundation (VRAF) is pleased to invite applications for the fifth VRAF Internship in visual resources and image management. This internship is generously funded by the Samuel H. Kress Foundation.
  • “Carlo Marchionni and the Art of Conversation: Architectural Drawing and Social Space in Eighteenth-Century Rome.”

    New York | Dates: 03 – 03 Nov, 2017
    Lecture by Tracy Ehrlich
    Friday November 3rd at 1pm

    Lower Level Lecture Hall
    Cooper Hewitt Smithsonian Design Museum
    2 East 91st Street
    New York
  • BITÁCORA 37 / E.R.R.O.R.

    MEXICO DF | Dates: 18 Jul – 01 Aug, 2017
    In contemporary capitalist societies, to err has a negative connotation and is punished. Inevitable as it may be, error cannot be tolerated in the standardized systems of production implemented during the Industrial Revolution. Norms, laws, and other principles regulating human behavior prevent any deviation. However, in studying the history of architecture, it is impossible not to observe that it was precisely the deviations from norms that allowed our discipline to respond to the social and cultural changes occurring in the real world. Without transgressions to the dictates of the academic dictates of the 19th century, the avant-garde and the modern movement could have never existed. Architecture, city, public space, and objects necessary for the survival of modern societies are the result of paths considered erroneous from a conservative point of view.

    The scientific mindset of modernity created the illusion –which today we continue to blindly revere– of any design project; that is to say, a representation of an object completely separated from the world and which we believe, with certain ingenuity, will exist in all its perfection in reality thanks to our obsessive control. In the design project error has no place. When any design project is brought to existence, we inevitably find errors that result from its the contact with the world in which we live. Architecture, urbanism, or design are based on methodical and accurate planning down to the millimeter, however, their built results are, to a greater extent, due to errors, uncertainties, and chance.

    To err also means to wander, to roam aimlessly, in order to, perhaps, discover new horizons. Is it possible for our disciplines to wander outside economic budgets, master plans, paper drawings, and computer renderings? This issue of BITÁCORA seeks to address one of the definitions of erring that can be considered as a virtue of thought, imagination, or attention. --- En las sociedades capitalistas contemporáneas el error tiene una connotación negativa y es castigado. Independientemente de que sea inevitable, la equivocación no se puede tolerar en la cadena de producción implementada a partir de la Revolución Industrial. Las normas, leyes y demás absolutos reguladores del comportamiento humano previenen cualquier desviación. Sin embargo, al estudiar la historia de la arquitectura es imposible dejar de observar que fueron precisamente las desviaciones de las normas las que permitieron que nuestras disciplinas respondieran a los cambios sociales y culturales ocurridos en la realidad. Sin las transgresiones a los dictados de la Academia del siglo XIX, las vanguardias y el movimiento moderno jamás hubiesen podido existir. La arquitectura, la ciudad, el espacio público y los objetos necesarios para la supervivencia de las sociedades modernas son resultado de caminos errados desde un punto de vista conservador.

    La mentalidad científica de la modernidad creó la ilusión –que hasta hoy veneramos ciegamente– del proyecto, es decir, una representación de un objeto completamente separada del mundo, que creemos con cierta ingenuidad, que existirá con toda su perfección en la realidad gracias a nuestro control obsesivo; en él, el error no tiene cabida. Invariablemente, al aplicar el proyecto a la realidad, observamos errores que son expresiones del contacto con el mundo en el que se actúa. La arquitectura, el urbanismo o el diseño se basan en la metódica y exacta planeación al milímetro, sin embargo, deben sus resultados en mayor medida a los errores, las incertidumbres y el azar.

    Errar también significa deambular, andar sin rumbo fijo para, tal vez, descubrir nuevos horizontes. ¿Es posible que nuestras disciplinas divaguen fuera de presupuestos económicos, del proyecto ejecutivo, del dibujo en papel, de las imágenes en las pantallas? En este número de BITÁCORA buscamos reflexionar al respecto de una de la definiciones del errar en la que se le considera una virtud, del pensamiento, de la imaginación o de la atención.
  • Affective Architectures | CFP: Edited Book Collection

    Dates: 17 – 17 Sep, 2017
    A growing literature at the interface of cultural geography and heritage studies theorizes the significance of affect in shaping embodied encounters at ‘places of memory’ (see Sturken 1997 and 2007; Landsberg 2004; Williams 2007; Crang and Tolia-Kelly 2010; Doss 2010; and Sather-Wagstaff 2011 on affect in heritage; and Hoelscher and Alderman 2004; Johnson 2005; Jones 2005; Till 2005; 2006; Legg 2007; Dwyer and Alderman 2008; Hoskins 2007; Azaryahu and Foote 2008; Rose-Redwood, Alderman, and Azaryahu 2008; Hoelscher 2008; and Stangl 2008, on geographies of memory). Moving beyond representational conventions, this scholarship marks an important shift towards the ‘more-than-representational spaces’ (Thrift 2004; Thien 2004; Bondi 2005; Anderson and Harrison 2006; Lorimer 2008) of contemporary memorial design (Heumann Gurian 1995; Yanow 1998; Vergeront 2002; Huyssen 1994 and 2003; Waterton 2014).

    In the late 19th and early 20th Centuries, for instance, dominant modes of memorialization relied heavily on monumentality. This aesthetic and mnemonic genre served to preserve historical memory in place (see Nora 1989). Limits to monumentality came, however, in that as an immobile, static, manifestation of collective memory within the landscape, monumentality did the work of cultural remembering on its own (see Young 1994). Put otherwise: why remember if we have places that do it for us? As monuments became graveyards of collective memory over time, places for memory to live and die, the late 20th Century developed new memorial aesthetics favoring ‘anti-monumentality’ (see Carr 2003).

    Breaking with the rules of traditional memorial design, including figuration, iconography, and doctrinal elements, the anti-memorial favors abstract, spatial, and experiential elements of memorial architecture. This trend prioritizes spatiality and the affective dynamics of memorial design in creating embodied experiences for visitors. As the scholarship acknowledges:

    "Even as background, spaces are evocative. They speak to us. … The settings we inhabit—bedrooms and buses, airports and art galleries playgrounds and pubs, museums and mosques—shape us as much as we shape them" (Vergeront 2002: 8 and 12).

    "Built spaces are at once storytellers and part of the story being told. As storytellers they communicate values, beliefs, and feelings using vocabularies of construction materials and design elements. … In this way [museum] spaces are both medium and message" (Yanow 1998: 215).

    "[T]hinking about the spaces of heritage means shifting from the static ‘site’ or ‘artefact’ to questions of engagement, experience and performance. … These are all multi-sensual sites, alive with intense and often lingering sounds, smells, and sights" (Waterton 2014: 824 and 830).

    Although monumentality has never been fully abandoned in western practices of memorialization, this shift towards 'affective heritage' (Micieli-Voutsinas 2016) has become commonplace in post-modern memorial architecture (see Heumann Guriun 1995; Linenthal 1995; Huyssen 2003; Savage 2009).

    Unlike its mnemonic predecessors, affective heritage relies less on authoritative narratives and official rhetoric to shape and sustain meaning at commemorative sites. In affective heritage, the impetus is for visitors to feel meaning as it is produced through embodied encounters with and within memorial spaces. As Waterton understands,

    "[N]arratives of affect are mediated in affective worlds that shape their receptions, tapping into everyday emotional resonances and circulations of feelings… … which means understanding heritage as a complex and embodied process of meaning- and sense-making" (2014: 824).

    This is not to say that institutional narratives are irrelevant to, or ineffective in shaping visitor expectations. Rather, affective heritage mobilizes embodied experiences in relation to memorial dogma to produce a kind of ‘feeling truth’ for visitors. This is especially true at sites commemorating traumatic pasts. Here, the more-than-representational spaces of memorial and museal landscapes are vital to representing that which is 'unrepresentable' and unknowable: trauma itself (see Freud (1920-22) 1955; 1939; Felman and Laub 1992; Caruth 1995; 1996; Brown 1995; LaCarpa 1996; 2001).

    This call for papers seeks to assemble a conversation among critical scholars interested in more-than-representational ways of engaging with places of memory and memorialization. Paper contributions grounded in theoretical, methodological, and experiential approaches are welcome. Some themes include, but are not limited to:

    ~ heritage architectures
    ~ performativity and spatial narratives
    ~ critical museum studies and space
    ~ hauntings, ghosts, and deathscapes
    ~ thanatourism and heritage economies
    ~ navigating emotion, embodiment, and subjectivity
    ~ methodological approaches
    ~ ethical dilemmas

    Submissions: Please submit expressions of interest outlining your proposed paper in no more than 350 words by email to Jacque Micieli-Voutsinas (jmicielivoutsinas@clarku.edu) and Angela M. Person (a@ou.edu) before September 17th 2017. Accepted manuscripts will be due by July 2018 and should be no more than 6000 words, including references and notes.
  • SESAH Lynchburg - Annual Meeting

    Lynchburg | Dates: 11 – 14 Oct, 2017
    In 2017, the Southeast Chapter of the Society of Architectural Historians will gather in Lynchburg, Virginia, for our annual conference, October 11-14.

    The conference program of plenaries, papers, and tours is set against a backdrop of seasonal color in the foothills of the Blue Ridge Mountains and within a vibrant architectural landscape rising on the city’s hills. The buildings of Lynchburg represent every architectural style from Federal to Mid-Century Modern, and every historical period from the colonial era through the Civil War to contemporary times. There are four historic districts in downtown alone, and a fifth listed for the importance of those who lived there, notably Harlem Renaissance poet and activist Anne Spencer.

    The Holiday Inn on Main Street, in the heart of the historic downtown, will be the venue for the paper sessions and addresses. A signature event of the conference will be a private tour and dinner at Thomas Jefferson’s Poplar Forest.

    Conference attendees may select accommodations from blocks of reserved rooms in two downtown hotels, including our conference headquarters at the Holiday Inn. Accommodations must be booked by early September.

    For more information, visit www.sesah.org.
  • Ninth Annual Anne d’Harnoncourt Symposium THE MUSEUM AND THE CITY

    Philadelphia | Dates: 08 – 09 Sep, 2017
    Co-organized by the Philadelphia Museum of Art and the Department of the History of Art, University of Pennsylvania

    September 8-9, 2017

    Anne d’Harnoncourt, director of the Philadelphia Museum of Art from 1982 to 2008, believed passionately that museums must be active global and local citizens. This conference will bring together important museum leaders, civic leaders, artists, and architects to discuss how museums can serve the vibrant and diverse civic life that we want in the 21st century. Keynote address by Tod Williams and Billie Tsien. (Tickets required for Keynote) For more information and to register, visit: https://www.sas.upenn.edu/arthistory/events/ninth-annual-anne-dharnoncourt-symposium-museum-and-city
  • Call for Applications: Reviews Editor (pre-1800) for Architectural Histories

    Dates: 13 Jul – 31 Aug, 2017

    Architectural Histories is the online open access journal of the EAHN, published by Ubiquity Press. The Editorial Board of Architectural Histories seeks to appoint a Reviews Editor for publications and other research-based outputs covering the history of architecture and the built environment before 1800.

    The Reviews Editor is responsible for commissioning, developing and editing reviews for the journal. Taking full advantage of the rapid production cycle offered by an online open access publication, Architectural Histories aims to publish reviews which respond to the latest releases in the field and to widen the traditional scope of reviews, to include recent exhibitions and conferences relevant to histories of architecture.

    Working closely with the Editor-in-Chief and a counterpart Reviews Editor for the post-1800 period, the pre-1800 Reviews Editor identifies publications, exhibitions and conferences of interest and invites reviewers. After commission, the Editor oversees the writing and editing of each review, up to the point where it is ready for final copy-editing.

    The Editor is expected to deliver 5-10 reviews per year.

    The ideal candidate is well connected with scholars working on all aspects of pre-1800 architecture, and closely monitors the state of the field, with an eye to commissioning reviews that will stand out as lasting contributions to historical and historiographical debate. The Editor should be familiar with good practice in the commissioning and editing of reviews.

    This call is open to all scholars working on topics related to pre-1800 architectural history regardless of background, discipline or seniority.

    Indeed, applications from scholars working outside the traditional centers of scholarship are strongly encouraged. Applications should consist of a CV (max. 3 pages) and a cover letter specifying the candidate’s appropriate skills and qualities.

    Applications should be emailed to Petra Brouwer, Editor-in-Chief (editor-in-chief@eahn.org), and received no later than 31 August 2017.

    The new Reviews Editor will be appointed on 1st October 2017 for a four-year term.

  • CFP: TAD Volume 2 Issue 1

    Dates: 13 Jul – 01 Aug, 2017
    For Technology | Architecture + Design's first OPEN issue, the editors seek original research from scholars, practitioners, architects, scientists, and engineers who engage with technology, architecture, and design. Deadline: August 1, 2017 
  • CFP: JAE Volume 72 Issue 1

    Dates: 13 Jul – 01 Aug, 2017
    Issue 72:1 of the Journal of Architectural Education seeks Design as Scholarship and Micro-Narratives that critically examine and expose the project and projection of architecture as a tool for thinking. Please note, this issue is not accepting scholarship of design. Deadline: August 1, 2017
  • Driehaus Symposium: Human Perception & The Built Environment

    Chicago | Dates: 30 – 30 Sep, 2017
    2017-DriehausFnd_ArchSymposium_579x800px

    For more information, please visit www.driehausfoundation.org.
  • Research Network: Architecture and Society in an Age of Reform

    Liverpool/Bristol/Birmingham | Dates: 13 – 31 Jul, 2017

    Liverpool / Bristol / Birmingham

    Deadline: Jul 31, 2017

    We are delighted to announce the launch of a new AHRC-funded international research network on Architecture and Society in an Age of Reform, which aims to establish a dynamic, long-lasting, multi- and interdisciplinary research forum to investigate the relationship between architecture and society in the period 1760-1840.

    As part of the project we will be holding three workshops:
    Liverpool (19-20 September 2017)
    Bristol (16-17 March 2018)
    Birmingham (date t.b.c., June 2018)

    Each workshop will focus on the same broad set of research questions, with site visits on the first day designed to stimulate discussion on the second day. The broad sets of questions we will be exploring

    include: 

    User experience.
    How can we reimagine the experience of building users?
    What can diaries, letters and literary evidence tell us?
    (How) can we use digital methods to recreate experience?

    Patronage and knowledge.
    How were buildings funded and what is the relationship between funding and form?
    How can we use the archival evidence resulting from patterns of patronage (legislation, subscription lists, contracts etc)?

    Radical and conservative architecture.
    How could and did architecture offer ways to contest, reform and reimagine society and/or maintain and strengthen existing structures?
    How can we use treatises, pattern books and other sources to identify different architectural discourses and different approaches to the use of space?

    New and reimagined building types.
    What do building forms tell us about contemporary understanding of their functions?
    How did architecture shape knowledge?
    How can we use surviving buildings and other non-textual sources as evidence?
    What are the most effective ways of engaging the wider public in this research?  

    Site visits

    The first day of each workshop will be dedicated to site visits, which are designed to stimulate new insights about the relationship between architecture and society in an Age of Reform. All travel will be arranged in advance, and network organisers will provide fact sheets for each site so that we can think about the buildings with the basic information at our fingertips.     

    Panel formats

    The second day of each workshop will be dedicated to focussed discussion designed to respond to the venue visits, to share ideas about the network's key research questions, build research collaborations and identify potential research themes for future research. We will adopted a blended format designed to stimulate discussion, including the following formats:

    5 minute speed-dating introductions to research spotlight sessions on local research institutions and heritage partners keynote papers roundtable discussion breakout   

    Call for expressions of interest

    The project team invites initial expressions of interest from scholars interested in any element of the Architecture and Society research programme. If you feel you can make a significant contribution to any or all of our workshops, please send a brief summary of your research interests and career stage to the Principal Investigator

    (Alexandrina.Buchanan@liverpool.ac.uk) by 31 July 2017. The AHRC has generously provided funding to support a limited number of participants' UK travel and accommodation expenses.

  • The Afterlife of Fascism: The Reception of Modern Italian Architecture and Urbanism

    Dates: 12 Jul, 2017 – 15 Jun, 2018
    Nearly 75 years after the regime’s end, questions about the built legacy of Italian Fascism continue to provoke polemic responses and questions. Mussolini’s government constructed thousands of new buildings across the Italian peninsula, islands, and in the colonial territories of North Africa. From government buildings, hospitals, and post offices to stadia, housing, summer camps, Fascist party headquarters, and ceremonial spaces, the physical legacy of the regime maintains a presence in nearly every Italian town. Infrastructure projects such as roads, railways and bridges bear the imprint of Fascism: manhole covers of sewer systems in small towns across Italy are still marked by the regime’s insignia today. In some areas, such as the Pontine marshes and Asmara, Eritrea, the regime built entirely new quarters or towns as part of land reclamation projects and its colonial agenda.

    Histories of Italian architecture and urbanism have documented and examined the vast body of work constructed by the regime. Scholars have debated whether these works of architecture remain worthy of study due to their remarkable form alone, because they satisfactorily symbolize a body of ideas, or both? Moreover, scholars have deliberated whether the political intention and physical form can be separated; that is, can a great fascist building be valued as art abstracted from the ideology that produced it? How do we make sense of the role of the architects who worked for the regime? Was the architect the source or merely the conduit of political and often poetic architectural expression? While these debates persist and continue to inspire scholarship about modern Italian architecture, a new dilemma has surfaced: what to do with these political constructions as they age and in the wake of change? How are they envisioned by their current constituents and citizens, and what is their destiny?

    The Afterlife of Fascism will investigate what has become of the architectural and urban projects of Italian Fascism; how have sites been transformed or adapted; and what do these sites mean today? We invite submissions that examine the afterlife of fascist architecture through studies of destruction, adaptation, debates over re-use, artistic interventions, and even routine daily practices, which may slowly alter collective understandings of a site. The volume will consider whether these structures and their material remains embody or retain some essence of the defeated political movement or, in contrast, whether they stand as reminders of the fragility of the connection between meaning and architectural form.

    Questions for consideration may include:
    • How do changes in the constructed landscapes of Fascism reflect evolving relationships among national identity, political authority and the physical landscape?
    • What happens when the modernity of fascist architecture becomes historicized alongside the monuments of popes and emperors, when modernity becomes part of tradition, or when the avant-garde becomes subject to historic preservation?
    • What do fascist constructions mean to the generations of Italians whose experience of the regime is limited to history textbooks and ancestral tales? How do the meanings of these sites change when they no longer have the power to conjure memories of the regime?
    • What do instances of preservation, adaptation or indifference to fascist sites tell us about the nature of the connection between political authority and place?
    • How does political power operate through design at scales ranging from domestic design to infrastructure? How, for example, did the constructions of fascism shape Italian culture through spatial practices? Can spatial practices be divorced from the original political intentions? Or do daily rituals shaped by the constructed spaces of fascism still bear witness to the intentions of the regime decades later?
    • After the fall of the regime, how were connections between architecture and politics renegotiated in the service of postwar political agendas? How, for example, did debates over what was fascist, anti-fascist, or Italian revise stylistic associations? How was history revised and/or redacted to serve new purposes in the postwar era?
    • How did those architects associated with fascism rewrite their own histories through design or activism in the postwar era?

    Through a critical history of the reception of fascist-era architecture and urbanism, The Afterlife of Fascism seeks to broaden our understanding of the relationships between politics and place. It aims to build on histories of the reception of politically charged sites in the modern era, which highlight how interventions, practices, and events have altered meaning even as physical forms often remain. Scott Sandage, for example, traces the evolution of our collective understanding of the Lincoln Memorial from a site intended to commemorate the preservation of the Union to one that associates Lincoln with emancipation and memorializes the civil rights movement. In Ghosts of Berlin, Brian Ladd analyzes the debates surrounding the many politically charged sites of Berlin and brings to light how the memories of each era in the city’s modern history are reflected and constructed through debates over meaning, use, and form. Kristin Ann Hass’s Carried to the Wall considers how the meaning of the Vietnam War was negotiated through the reception of the Vietnam Wall through an analysis of the objects left at the wall. In doing so, she reminds us of the power of individuals, ordinary people, to engage in these contests over meanings and of place.

    We invite papers on fascist architecture and urbanism that contribute to this discourse on reception through studies of the negotiations among politics, identity, memory, and place. Interested authors should submit an abstract of 400-500 words and a C.V. to co-editors Kay Bea Jones (kaybeajones@gmail.com) and Stephanie Pilat (spilat@ou.edu) by Monday, October 16th, 2017. Decisions will be made by December 2017. Papers of 4,000 – 8,000 words will be due on June 15th, 2018. Papers from accepted abstracts will undergo peer-review before publication.
  • ACLS Announces New Getty/ACLS Postdoctoral Fellowships

    Dates: 11 Jul – 25 Oct, 2017

    This is the time of year that the American Council of Learned Societies opens applications for numerous grants, fellowships, and postdocs.  Many have deadlines coming up so visit the competitions page of their website.

    Also this year ACLS is pleased to announce a new fellowship program, Getty/ACLS Postdoctoral Fellowships in the History of Art. Architectural history topics are eligible as long as they make a contribution to art and its history and focus on significant visual studies components. These fellowships will support emerging leaders in the field of art history whose projects broaden the understanding of art and its history. The program is made possible by a major grant from the Getty Foundation.
     
    The program, the first such partnership between ACLS and the Getty Foundation, succeeds the Foundation’s earlier postdoctoral fellowship program that named its last fellows in 2009. The new awards are designed to support emerging scholars in carrying out ambitious and innovative research projects. The fellowships are fully portable, allowing fellows significant latitude to visit the places necessary to conduct their research.
     
    “We are thrilled to partner with the Getty Foundation to advance the research of talented, early career scholars,” says Pauline Yu, president of ACLS. “This fellowship program will highlight the most dynamic approaches in art history scholarship.”
     
    The program is open to scholars of all nationalities whose work engages with art history, and whose PhD has been conferred between September 1, 2012, and December 31, 2016. Applications can be from scholars working in any humanistic discipline, provided that their research draws substantially on the materials, methods, and/or findings of art history.
     
    “We look forward to working with ACLS on the reinvention of our postdoctoral fellowship program,” said Deborah Marrow, director of the Getty Foundation. “We have missed this program since its conclusion in 2009 after 25 years, but there are new opportunities now, building on the Foundation’s international work and the long experience of ACLS in managing fellowship programs in the humanities. Support for the best emerging scholars is vital to the future of art history.”
     
    ACLS will award up to 10 Getty/ACLS Postdoctoral Fellowships in 2017-18, which will be the first of three competition years. Fellowships will support an academic year of research and writing to be taken during the subsequent academic year. Awards carry a stipend of $60,000 as well as $5,000 for research and travel costs during the award period, and also will include a one-week residence at the Getty Center following the fellowship.
     
    Proposals must be submitted through ACLS’s online application system, which will begin accepting applications in early August. Further information about the program and eligibility criteria is available online at https://www.acls.org/programs/getty/. The application deadline is October 25, 2017.

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SAH thanks The Richard H. Driehaus Foundation Fund at The Chicago Community Foundation for its operating support.
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