Recent Opportunities

  • 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

    For more information, please visit
  • 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


    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

    ( 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 ( and Stephanie Pilat ( 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 The application deadline is October 25, 2017.

  • CFP - Historians of Islamic Art Association Biennial Symposium “Border Crossing” Yale University October 25-27, 2018

    Dates: 25 – 27 Oct, 2018
    Call for Papers Historians of Islamic Art Association Biennial Symposium
    “Border Crossing”
    Yale University
    October 25-27, 2018

    The 2018 HIAA symposium will bring together an international group of established and emerging scholars of Islamic art and architecture to present new research on the theme of “Border Crossing.” Very often the field has been defined as one centered on select regions of the Middle East, South Asia, and Central Asia, and focusing on traditional media and categories, such as the decorative arts, manuscript studies, and architecture. Less attention has been paid to regions on the so-called peripheries, including, for example, Southeast Asia and sub-Saharan Africa, or to disciplines that are not often associated with the field, such as film and anthropology. “Border Crossing” is an invitation to rethink the field of Islamic art and architecture by interrogating the ideas of translation, transmission, and transgression that are suggested by the theme. Among the questions that may be asked are: How can this lens help us rethink works that form the “canon” of Islamic art? What is at stake in crossing disciplinary borders? What is lost and what is gained in abandoning traditional academic parameters? What may be learned through literal border crossings, whether they are by conservation authorities or refugees? As the works of several contemporary artists show, border crossings are ultimately ethical positions taken to evince the human condition itself. They thus provide potential to rethink the arts and cultures of the Islamic world, as well as the ways in which we study them today.
    There are three categories of submission: Pre-arranged panels (4 papers and a discussant); individual papers; graduate student papers. Please submit your abstract/s and a brief curriculum vitae to by September 7, 2017.

    The 2018 Symposium Committee:
    Christiane Gruber
    Yael Rice
    Kishwar Rizvi
    Ünver Rüstem
  • CFP: Zwinger & Schloss – Augustus the Strong’s Dresden Residence in a European Context (1694-1733)

    Dresden | Dates: 06 – 28 Jul, 2017

    The Saxon elector Frederick Augustus I (1670/1694-1733), King of Poland from 1699 and better known as Augustus the Strong, invested considerable effort in modernizing his palatial buildings in the center of Dresden. The so-called Dresden Zwinger, a sumptuous, architecturally enclosed showground, and the Taschenbergpalais, residence of his mistress, the Countess of Cosel, still bear witness to this grand-scale, though ultimately unfinished, project. In Dresden’s archives numerous valuable plans and sketches provide evidence of the project’s complex planning process and this material is currently being catalogued and examined as part of a research project at the TU Dresden. An international conference is planned to present the results of this project and to take a look at the wider historical and art-historical context of the Dresden palace plans. At the same time, the conference will continue an exploration begun at a Dresden symposium in 2015 dealing with the planning of the Japanisches Palais, the last of Augustus the Strong’s palatial projects in Dresden. As a cooperation partner, the Rudolstadt Working Group for Residential Culture is offering its interdisciplinary expertise in support of the conference. Following his ascent to the Polish throne, Augustus the Strong felt that his original residence in Dresden should architecturally reflect his new status. The majority of his extensive plans never progressed past the planning stage, however, including the renovation of the palace, which was supposed to form an architectural ensemble, together with the Zwinger. The planning process could be characterized as a dialog between the royal client, with his passionate interest in architecture, and the Dresden court’s master builder, Matthäus Daniel Pöppelmann (1662-1736). Of course other voices made themselves heard as well, including leading members of the principality’s civil building authority as well as court officials and policy makers. The project encompassed elaborate facades, triumphal gateways, the arrangement of ceremonial and private apartments for the sovereign and his court, event and museum spaces for official use such as dining and gaming rooms, theaters, a palm gaming hall, an animal hunting arena and a riding school with royal stables and showground. It foresaw, as well, the construction of a palace garden including an orangery which, following a series of concept changes, evolved into the Zwinger court. The orientation of the palace construction efforts apparently oscillated between a regional, traditional conservatism and a European-international focus. Research on the Dresden palace plans is part of the art history project “Matthäus Daniel Pöppelmann (1662-1736): plans for the electoral palace and the Zwinger in Dresden – planning and building in the ‘modus Romanus,’” funded by the Fritz Thyssen Foundation for Scholarship and carried out at the Institute for Art and Music at the TU Dresden. Analyses of the project’s results are to be based on a variety of topics and methods, including planning and construction chronologies, geneses of type and motif, culture transfer, palace research, architectural semantics as well as questions pertaining to medium and performance in representational architecture. Taking the Dresden palace plans as a case study, historians, art historians and cultural studies scholars are invited to participate in the discussion from other perspectives and contexts. In addition to fundamental questions concerning the possibilities of baroque representation in architecture, interior design and landscape architecture as well as questions related to medium, other disciplinary approaches are encouraged. Political history, historical sociology, cultural transfer, palace culture, court ceremony, music and theater are valuable fields of inquiry in this context.

    Financed by the foundation Fritz Thyssen Stiftung für Wissenschaftsförderung

    Preferred topics are:
    Dresden Residence:
    – History of its concept, construction and furnishings
    – Architectural and interior design iconography
    – Functional, ceremonial and sociological aspects
    Architectural typology of palaces and palace construction (ca. 1700):
    – In the Holy Roman Empire
    – Within the Saxon-Polish union
    – In Europe
    Relationship between Saxony and Prussia (neighbors and/or competitors)
    Court planning and construction organization 
    Adaptation methods and means of model-based design 
    Questions of medium and performance in palace architecture 
    Courtly spatial planning and spatial manifestations of authority 
    Cultural transfer

    The conference begins on Thursday midday and continues until midday on Saturday.

    Those interested are invited to present a talk at the conference. Presentations are limited to 30 minutes. Please e-mail an abstract (max. 400 words) and brief CV summarizing important publications related to the conference topic by July 28, 2017. Invitations will be sent in mid-August.

  • CFP: Home Comforts: The Physical and Emotional Meanings of Home in Europe,1650-1900

    Manchester | Dates: 06 – 10 Jul, 2017
    Home Comforts: The physical and emotional meanings of home in Europe,1650-1900
    Manchester Metropolitan University, 5-6 October 2017

    Speakers include: Hannah Barker, University of Manchester; Johanna Ilmakunnas, University of Turku; Eleanor John, Geffrye Museum

    Home is widely recognised as a place of emotional attachment, often expressed and articulated through material objects which lie at the heart of attempts to uncover what made a house into a home. One important aspect of this is the notion of comfort, both in a physical and emotional sense; yet comfort is a relative term, its fulfilment dependent upon a wide range of economic, social, cultural, environmental and psychological factors – from wealth to the weather, and from family to fashion. This conference aims to explore the wide range of ways in which ideas and ideals of comfort were expressed in and through the home; how these changed over time and space, and whether it is possible to identify a European conceptualisation of home and comfort.

    We welcome papers on any aspect of home and comfort in Europe from the early modern period to the present day, but we especially look for contributions that seek to address the following:

    Furnishing the home: easy chairs, bedrooms, textiles, etc.
    Emotions and comfort in the home/family
    Changing technologies of domestic comfort
    Ideal homes: design, comfort and convenience
    National or European: comparative perspectives on home and comfort
    Comfort and domestic service
    Souvenirs and heirlooms: the comforts of memory
    Comfort and cleanliness

    If you would like to present a paper, then please send a title and 200 word abstract to Prof Jon Stobart: by 10 July 2017.
  • 2017 Firm of the Year & Dubin Family Young Architect Awards

    Chicago | Dates: 06 Jul – 13 Sep, 2017


    The AIA Chicago Firm of the Year Award was established in 1991 to recognize outstanding achievements and excellence in the body of work produced by a firm over a period of time, and the ongoing contributions of the firm to the advancement of the architectural profession.

    Winners are recognized at Designight and in Chicago Architect magazine. 

    Firm principal(s) must be a member of AIA Chicago. Successor firms may be considered, as long as the collective body of work presented is that of a majority of the remaining principals.

    Submissions are being accepted now until September 13, 2017. You can review guidelines here, including submission requirements. 


    AIA Chicago’s Young Architect Award was established in 1983 to recognize excellence in ability and exceptional contributions by Chicago area architects between the ages of twenty-five and thirty-nine. In 2003, the Young Architect Award was renamed the Dubin Family Young Architect Award. Thanks to the generosity of the late M. David Dubin, FAIA, his family and friends, this award has been endowed with a cash prize. This award is administered by the AIA Chicago Foundation.

    Submissions are being accepted now until September 6, 2017. Review guidelines here.

    You may also visit the AIA Chicago offices to view past winning submissions (35 East Wacker Drive, Suite 250). Call ahead to let us know you'd like to come by! 312.376.2710

  • Demystifying Fellowship

    Chicago | Dates: 19 – 19 Jul, 2017

    Learn all about the AIA College of Fellows and the process of nomination to Fellowship from Linda Searl, FAIA (Searl Lamaster Howe Architects).

    Fellowship was developed to elevate those architects who have made a significant contribution to architecture and society and who have achieved a standard of excellence in the profession. Election to Fellowship not only recognizes the achievements of the architect as an individual, but also honors before the public and the profession a model architect who has made a significant contribution to architecture and society on a national level. The presentation will explain the nomination, application, and review process.

    All are welcome to attend, regardless of current eligibility status, and learn about the road to this achievement.

    Refreshments will be served.


    AIA Chicago




  • Call for Volunteers: I-NOMA Project Pipeline Summer Camp

    Chicago | Dates: 06 – 30 Jul, 2017

    Our volunteers come from all sorts of backgrounds to give their time for a good cause! We value volunteers with different skills, experiences, and educational achievements. Though it is strongly recommended that volunteers be available for all four days of the camp, volunteers who can not attend the entirety of the camp will still be considered. Eligible volunteers include:

    • College graduates

    • College students

    • Volunteers who have retired and want to mentor future generations

    • Volunteers looking to build experience and professional connections

    • Volunteers with interest in mentoring youth

    • Volunteers with experience or interest in the design professions

    • Employer supported or sponsored volunteers

    In each case, you will need to be prepared with the following requirements to get the most from your volunteering.

    Take a look at the various levels of volunteers on the list below and decide where you fit, then include your level on your registration form.


    Requirements:  Must be a practicing Architect/Engineer
    Duties: Leads a table of 7 students and two mentors through all the activities of the day.
    Must be available for the hole duration of the camp (4 days)
    Must attend a brief training seminar to review exercise and solutions.



    Requirements:  Practicing Architect/Engineer
    Duties: Assists the Lead Mentor or temporarily substitutes for a Lead Mentor.   
    Must be available to attend at least one full day.


    Requirements: College Student of architecture or engineering
    Duties: Assists the Lead Mentor throughout the camp activities, focuses on one child; specifically timid children, or children who may need additional assistance.
    Must be available to attend at least one full day.


    Requirements: Former ACE Student or similar education    
    Duties: Assists the Lead Mentor in running quick errands for additional supplies or also focusing one student who may need additional attention.  
    Must be available to attend at least one full day.

  • Call for Participants: 2017 National Humanities Conference

    Boston | Dates: 06 Jul – 20 Oct, 2017

    LIGHTNING ROUND: Engaging the Public Through Digital Tools

    The National Humanities Conference, Friday. November 3, 3:00 to 4:00 pm

    Join us for lightning talks on how individuals and organizations are utilizing digital tools to enhance humanities learning and engagement. Presenters, who are invited to participate on a first-come, first-serve basis, will speak about a project, initiative, or trend related to this broad theme for four (4) minutes, accompanied by up to four (4) slides. Following the lightning talks, session participants and attendees will have time for discussion facilitated by a moderator.

    At least eight (8) spaces for presenters will be available. Current participants include Nicky Agate, Jessica Lu, Susan Perdue, and Maia Sherwood.

    Signing up in advance of the session is strongly suggested, though not required. Please email Logan Hinderliter by October 20. 2017 at

    WORKING GROUP: Using Media to Develop Humanities Narratives

    The National Humanities Conference, Saturday, November 4, 9:30 to 11:00 am

    We are soliciting participants for our NHC 2017 working group, Using Media to Develop Humanities Narratives, meeting Saturday, November 4, 9:30 to 11:00 am.

    Our working group will discuss the increasing need to create and disseminate clear and compelling narratives that affirm the public benefits of humanities programs, especially those originating from colleges and universities, and explore options for addressing this need through new media. The questions this working group will address include: 1) What practical resources do universities and other humanities entities need to create compelling narratives about their programs, and what can universities and public humanists do to animate students and people outside of the academy to advocate for the humanities? (2) What stories should humanities professionals, as well as university administrators, faculty, students, and participants in public humanities programs be telling about these programs and how should these stories be told? Lastly, (3) what audiences do these stories need to reach and how can advocates for the humanities target them?

    The specific goal of this working group will be to produce an initial blueprint of effective narratives that resonate with and mobilize a broad public, uses of media, and promotional strategies that universities and humanities programs can both draw from and build on to affirm the public good that the humanities serves and to advocate for increased public investment in humanities programs.

    Please provide a brief abstract (300-500 words) of what you will contribute to meeting the goals of this working group, focusing on narratives you have created, investigated, and/or employed to communicate the importance of accessible humanities programs in higher education to students, donors, and the public. You might address what you learned from the process of using new media to develop humanities narratives, including how you disseminated these narratives to targeted audiences and how the media shaped the telling and content of the narrative. What resources did you deploy? What resources did you wish you had access to? What are some other questions we should be asking as we work toward a blueprint? Your abstract might additionally reflect on what was successful about your project, what didn’t work, and should address what you will bring to the working group based on these experiences.

    We also welcome participants who are new to their positions and are interested in exploring new media narratives about the public benefits of the humanities. Your abstract should address how your participation would benefit you and your organization and what questions you have as you face the defunding of the humanities.

    Finally, please focus on strategies rather than specific content of programs. We wish to develop a blueprint that is adaptable to a wide range of organizations and their programming.

    Please send your statements to Victoria Davis at and Clare Callahan at by July 28, 2017.

    WORKING GROUP: Radical Pedagogies/Radical Messages: Possibilities of University-Community Partnership

    The National Humanities Conference, Saturday, November 4, 11:15 am to 12:30 pm

    This working group investigates spaces of political resistance and radical historical narration that can be produced by university-community collaborations. As universities embrace publicly-engaged scholarship and community organizations look to address critical social issues in a time of shrinking state support, these collaborations have become increasingly important ways for both entities to address issues of contemporary social importance through humanistic methods. Because of the nature of these entities, such projects tend toward a small scale, rarely having the staffing or financing to be sustained, and often find limited audiences. We aim to self-reflexively sketch out the potentials and limitations of university-community collaborations with radical political agendas.

    Some driving questions include: How can we better ensure reciprocal benefits for all involved? What is the “community” in these partnerships? How do we assess impact? How can we promote the endurance of such collaborations and the messages they hope to communicate? Ultimately, how radical can we be given the limitations of staffing, funding, priorities, and conflicting timelines?

    We seek participants who can contribute to this conversation from all angles and we are particularly interested in case studies that push the bounds of what a university-community partnership might look like.

    Contact Rebecca Amato at by July 28, 2017.

    As a result of this working group. we will produce a preliminary best practices guide about such collaborations and envision publicizing the guide through posts on blogs including the National Council on Public History’s History@Work, Next City, and Public Seminar.

    WORKING GROUP: Dismantling the Legacy of Race

    The National Humanities Conference, Saturday, November 4, 9:30 am to 11:00 am

    Are you interested in confronting the issues of diversity, inclusion, and access? Would you like to present projects or work that has addressed these topics? Then please join us for the session Dismantling the Legacy of Race with Equity, Inclusion, and Diversity. We’re looking for 5-6 presenters who can talk about projects in their communities that address pervasive social, economic, cultural, and racial issues that have long divided American communities. State humanities councils, we would also love to hear more about the work you have done for the Humanities and the Legacy of Race initiative. Following presentations, the larger group will discuss the successes and challenges and the highs and lows of developing programs that address these themes, transferrable models for wider implementation, and will discuss next steps, including brainstorming possible methods of funding to spread programming to a wider audience and establishing a diversity task force.

    Space for up to 6 presenters is available. Presentations should be no more than 5 minutes long. We will confirm presenters by August 14th. Final drafts of presentations need to be in by September 25th.

    If you are interested in presenting, please email Meg McReynolds,, a short project description by July 28, 2017.

  • This Future Has a Past

    New York | Dates: 25 Jul – 12 Sep, 2017

    This Future Has a Past

    July 25–September 12, 2017
    Margaret Helfand Gallery

    Center for Architecture, New York

    Anyspace will launch its exhibition program on Tuesday, July 25, 2017, with “This Future Has a Past,” a look at architect Gregory Ain originally created by Katherine Lambert and Christiane Robbins for a collateral exhibition at the 15th International Venice Architecture Biennale. 

    “This Future Has a Past” presents a single work by the late California architect Gregory Ain – his Exhibition House for America's middle class, the second house to be built in the garden of the Museum of Modern Art, in 1950 – alongside documentation of his “un-American activities” collected during the McCarthy era. J. Edgar Hoover deemed Ain “the most dangerous architect in America.” The fate of Ain’s Exhibition House after the show closed is still unknown. Archival FBI files and MoMA press documents, a newly constructed model of the 1950 Exhibition House, and a series of lenticular images created by Lambert + Robbins call attention to this little-known bi-coastal architectural history.

  • 2017-18 Arcus/Places Journal Prize

    Dates: 06 Jul – 15 Aug, 2017

    The biennial prize is a unique collaboration between the Diversity Platforms Committee of the College of Environmental Design at UC Berkeley and Places. Established in 2014 to support innovative public scholarship on the relationship between gender, sexuality, and the built environment, the award is funded by College of Environmental Design’s Arcus Endowment, launched in 2000 with a generous gift from the Arcus Foundation.

    The prize is open to mid-career or senior scholars. The winner will receive an honorarium of $7,500 to produce a major work of public scholarship for Places and present a related lecture to be given in the College of Environmental Design.

    Applications will be accepted until August 15. For more details and full application requirements, see the competition guidelines.


  • Overbooking the City: An International Urban Design Workshop

    Dubrovnik | Dates: 06 Jul – 04 Aug, 2017

    Overbooking the City
    An International Urban Design Workshop
    20 - 26 August 2017, Dubrovnik, Croatia

    Within an ever-more interconnected world the impacts of the transient flows of global tourism on urban societies, economies, nature, and the built environment, are both more intense and more diverse. They range from the prices of goods and the distribution of economic activity to the demographic mix and the operation of the land market.

    In particular, in a climate of inter-city competition towards uniqueness and authenticity, cities, such as Dubrovnik, that can claim the quality of being ?historic?, re-brand themselves, and are as much re-branded beyond themselves, as unique experiential landscapes, too often constructed on fabricated representations, commodified traditions, and a forged repetition of ?the past?. This image of the city re-orders the city itself; global tourism both redirects the local urban development process and (ab)uses vital local resources for its own unsustainable maintenance and future growth. For local urban communities the risk is not only becoming subservient to the flows and ebbs of global tourism, losing their own self-generated vitality and particularity, but also less self-reliant and resilient in the face of future adversities.

    Dubrovnik, the ?Pearl of Adriatic?, is a world renowned tourist destination. The 0.18 sq km of its historic city, classified as a UNESCO World Heritage site, host more than 2 million visitors each year; a visitors-to-area ratio that beats Venice 5 times over.  While this explosion of tourism may seem relatively benign, even desirable as a newly discovered source of economic prosperity and cultural vibrancy, questions arise over the impacts of such a disproportionately scaled phenomenon on the city.

    Making use of design and policy tools for shaping and managing space we shall aim to critically and analytically examine the effects of tourism on the city and to propose tailor-made urban design and policy solutions through which the relative advantages of Dubrovnik as a tourist destination can be used in a way that can benefit local communities and strengthen the city?s long-term socio-economic and environmental sustainability.

    Overbooking the City immerses participants into an intensive 7-day programme consisting of studio teamwork, fieldwork research, and lectures, complemented with parallel public and social events. Each workshop unit welcomes 7-9 participants; it is lead by one guest and one host tutor, pairing international expertise and methodological approaches with local knowledge and lived experiences of the city. The selected sites in each of the 7 units of the workshop function as a lens through which an exploration of broader issues can be embarked upon and brought to a productive design-oriented conclusion. Final proposals are presented and debated in public in the presence of a jury composed of key representatives from industry, academia, and local authorities.


    The workshop is open to undergraduate students near the end of their studies, PhD candidates, and young professionals, in architecture, urban design, planning, and fields related to place-making and urban development.


    Please email us at <>with a short bio, an example of your work in pdf (one project), and the units you are interested in, in order of preference.


    With the completion of the workshop participants receive the UT International Urban Design Workshop certificate accrediting 10 hours of lectures, 12 hours of fieldwork research and 36 hours of studio design work.


    Early registrations by 14 July 2017

    ? 270 without accommodation

    ? 500 including accommodation

    Registrations past 14 July 2017

    ? 400 without accommodation

    ? 650 including accommodation

    Accommodation is within walking distance to the workshop venue.

    Payment by credit/debit card or bank transfer following acceptance of your application.


    4 August 2017

    Registrations may close earlier if all places are booked out.


    If you will be travelling from outside the EU and will require VISA please include a copy of your passport with your application and contact your nearest Croatian embassy as early as possible for details on the VISA application procedure.

    For more information please visit:

    Contact email:


    Overbooking the City is a project by Urban Transcripts in partnership with PLACA collective for spatial research and with the support of the City of Dubrovnik, Dubrovnik Architects Association and the University of Split ? Faculty of Civil Engineering, Architecture and Geodesy.

  • CAA Professional-Development Fellowships for Graduate Students

    Dates: 06 Jul – 02 Oct, 2017

    CAA’s Professional-Development Fellowships program supports promising artists, designers, craftspersons, historians, curators, and critics who are enrolled in MFA, PhD, and other terminal degree programs nationwide. Fellows are honored with $10,000 grants to help them with various aspects of their work, whether it be for job-search expenses or purchasing materials for the studio. CAA believes a grant of this kind, without contingencies, can best facilitate the transition between graduate studies and professional careers.

    One award will be presented to a practitioner—an artist, designer, and/or craftsperson—and one award will be presented to an art, architecture, and/or design historian, curator, or critic. Fellows also receive a free, one-year CAA membership and complimentary registration to the Annual Conference. Honorable mentions, given at the discretion of the jury, also earn a free one-year CAA membership and complimentary conference registration.

    CAA initiated its fellowship program in 1993 to help student artists and art historians bridge the gap between their graduate studies and professional careers.


    CAA seeks applications from students who are current members; are citizens or permanent residents of the United States; will receive their MFA or PhD degree in the calendar year 2018, following the year of application (2017 for the next fellowship cycle); and have outstanding capabilities and demonstrate distinction in approach, technique, or perspective in their contribution to art history and the visual arts. A jury of artists, curators, and other professionals will review all applications in fall 2017 and announce the recipients in January 2018.


    Please visit to submit applications to the 2017 MFA and PhD Professional-Development Fellowship programs.


    The deadline for applications for the PhD Fellowships is Monday, October 2, 2017 and Friday, November 10, 2017 for the MFA Fellowships.  CAA will send notifications in January 2017.


    For more information about the CAA fellowship program, please contact Roberta Lawson, CAA fellowships coordinator, at 212-392-4404.

  • CFP: RA, Revista de Arquitectura issue 20. Nature as Construction Material

    Dates: 06 Jul, 2017 – 28 Feb, 2018

    RA, Revista de Arquitectura is a forum for the academic debate concerning architecture as a cultural reality of undeniable importance and impact and as object for careful consideration, study and research. It is a channel for the intellectual output of the Theory and History, Urban Design and Design Departments, although it is open to articles and contributions from other fields. RA, Revista de Arquitectura is a peer reviewed magazine, and it is included in the main international databases.

    CFP for issue 20 is open to contributions in English and Spanish in the link Call for Papers at: 

    Guest editor, Jes?s Vasallo (Rice University, Houston TX), proposes Nature as Construction material as a field of study and welcomes submissions by young and established scholars and architects until February 28, 2018.

    Guidelines for authors and instructions are available at:

    Contact details:

    Ra. Revista de Arquitectura

    Escuela T?cnica Superior de Arquitectura Universidad de Navarra

    31009 Pamplona (Espa?a

  • CAA Feb 2018 in LA: HGSCEA session

    Los Angeles | Dates: 05 Jul – 14 Aug, 2017
    College Art Association Annual Conference in Los Angeles, California
    February 21-4, 2018
    Deadline: Aug 14, 2017

    Critical Race Art Histories in Germany, Scandinavia, and Central Europe
    Session sponsored by the Historians of German, Scandinavian, and Central European Art (HGSCEA)
    Chair: Allison Morehead, Queen’s University,

    Critical race theory, which entered art history through postcolonial analyses of representations of black bodies, has remained relatively peripheral to art historical studies of Germany, Scandinavia, and Central Europe, whose colonial histories differ from those of countries such as Britain, France, and the United States. At the same time, art historical examinations of white supremacy in the Nazi period are frequently sectioned off from larger histories of claims to white superiority and privilege. Centering critical race theory in the art histories of Germany, Scandinavia, and Central Europe, this panel will consider representations of race in the broadest of terms — including “white makings of whiteness,” in the words of Richard Dyer. We invite papers that together will explore the imagination and construction of a spectrum of racial and ethnic identities, as well as marginalization and privilege, in and through German, Scandinavian, and Central European art, architecture, and visual culture in any period. How have bodies been racialized through representation, and how might representations of spaces, places, and land — the rural or wilderness vs. the urban, for instance — also be critically analyzed in terms of race? Priority will be given to papers that consider the intersections of race with other forms of subjectivity and identity.

    Please send 250-word proposals, a completed session participation proposal form, and a short academic CV to:
    Allison Morehead ( by 14 August 2017.

    Please consult the guidelines on the CAA call for participation ( for further details.
  • Unity Temple Tours Resume

    Oak Park | Dates: 01 Jul – 31 Dec, 2017

    Guided Interior Tour
    Unity Temple (1905-08) represents a defining moment in Frank Lloyd Wright’s early career. Designed in Wright’s Oak Park Studio for his own Unitarian congregation, it is one of the first public buildings in America to feature exposed concrete and is Wright’s greatest public building of his Prairie era. The harmony of the building’s strikingly geometric architecture and decorative elements exemplifies Wright’s theory of organic design. Unity Temple announced a new era of innovation in modern architecture.

    Late in his career, Wright remarked: “Unity Temple makes an entirely new architecture — and is the first expression of it. That is my contribution to modern architecture.”

    A National Historic Landmark since 1970, Unity Temple is once again open to the public after completion of a comprehensive restoration. Even repeat visitors will appreciate anew Wright’s bold use of light, space and unconventional materials to create one of his most significant accomplishments.

    Tours starting July 1.
    Monday - Thursday 10 am - 4 pm, Friday 10 am - 3 pm, Saturday 9 - 11 am.

    Self-Guided Tours and In-depth Tours also available.
  • CFP: Interstices 19, "Surface/Pattern"

    Dates: 29 Jun – 31 Jul, 2017

    Submission deadline: 31 July 2017

    Surface and ornament are periodically reviewed, discarded and pursued. More recently, there has been an interest in the writing of Aby Warburg, Alois Riegl, Gottfried Semper, Adolf Loos, Hermann Muthesius, and Le Corbusier. They have been made prominent by issues of animation (see, for example, Papapetros 2012, Payne 2013, van Eck 2014) and digitation (see for example Spuybroek 2008 and Schumacher 2009).

    Incrustations, protuberances, textured expressions, smoothed surfaces, surfaces enlivened as screens – are they ornament or cladding? The forthcoming issue of Interstices: Journal of Architecture and Related Arts, “Surface/Pattern”, pursues the tension between ornament, adornment, object enlivenment, cladding, surface and pattern and explores the strange animations inherent in surface-pattern continua.

    Thought in one direction, smooth surface tends towards speed and a friction-less gloss; in another, pattern stirs surfaces, inciting decelerating, contemplation, and even deviation. Etymologically, ‘surface’ accords with the revealing of an upper or outward layer, but it also points to things that receive a surface through polishing or finishing. Surface, as a verb, intimates an active surface/depth relationship.

    Pattern suggests the imposition of a plan or design that ultimately models or leads back to exemplars and the impact of patrons. Conjunctures of surface-patterns thus encompass rich and complex narrative effects.

    This call for papers invites considerations, at a range of scales, of surface-pattern complexes like territory and landscapes, built assemblages and ‘cladding’, interior surfaces, décor and furniture, sculpture or objects of the decorative arts.

    The issue is motivated by a renewed fascination with the architectural surface and the expressive effects it mobilises – effects that both eschew and uneasily dabble in the decorative. Material mediation has become a means for experimentation, a way of teasing out smooth geometries, tessellated patterns, iconic figures and textures. All of these may perform technical functions, as well, like joining or harmoniously accommodating incremental and differential movement.

    If, following Paul Virilio, the built, like the social, is inseparable from a politics of speed (in which surfaces, ways, and conduits at every scale are ‘policed’ in order to arrest impediments to an accelerating commerce of motion and passage), we might wonder what role patterning plays today.

    As Giles Deleuze and Felix Guattari have argued, periodic repetition is key to encoding a milieu, founding territoriality and place-specificity. However, it is also a rhythmic vehicle running on difference, a metrical, staggered and reversible time of variable intensities, in which beginning and end are confused (Bogue 2003: 28). Performative and plastic arts in the Pacific and elsewhere use repetition not only as aesthetic device but also “to symbolise and effect relations of mana” (Tomlinson & Tengan 2015: 17), both channelling affective force and representing memory and knowledge to those who understand (Clark 2006: 12; Nepia 2013: 133, 197).

    Pattern and rhythm run free of and extend beyond planar fixity, implicating faces and surfaces that may change, reverse or combine, they alter perception and architectural space. Surfaces, beyond their seconding within building hierarchies, open onto movement and shifting states (Taylor 2009: 47). Architecture, then, can be rethought in relation to an outside that is not kept out or apart, in terms of surfaces, flatness, dynamism and movement rather than stasis (Grosz 1995: 135). Patterned and patterning, surfaces provide a saturated environment rich in repetition, difference and an atmosphere by which architecture is more than a machinic structure. As the distinctions between structures and ornaments, function, form, façade and decor are reconceptualised, surfaces are no longer decorative elements but entities in themselves. Surface “turns into architecture [as the] surface becomes weighted, deep, differentiated, tartan, alternating, camouflaged, tonal, gradated, textured, branded, serial” (Bruno 2014: 93).

    It is with this sense of the spatial effects potentiated by surface-pattern that we invite you to submit a paper for the forthcoming issue of Interstices. For various publishing options and the required formatting, please refer to the Guidelines for Submissions on the Interstices website.

    Call for Papers Interstices: Journal of Architecture and Related Arts invites submissions for issue 19 of the journal due for publication in December 2017. Authors may submit academic and practice-oriented, fully written as well as visual, contributions for this issue.

    Please submit full papers for the Interstices 19 journal issue to Sue Hedges ( by 31st July 2017. Submissions may comprise up to 5000 word papers or visual/audio/moving image works with an accompanied text of approximately 500 words. All submission will be double blind refereed. The journal’s non-refereed section welcomes papers up to 2500 words, as well as project reports and reviews of up to 1000 words. Visit our website to view the Guidelines for Submissions for details about the reviewing process, copyright issues and formatting:

    We look forward to your contribution!

    Journal editors: Ross Jenner, Sue Hedges, Tina Engels-Schwarzpaul

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