A one- or two-week historic preservation volunteer vacation on the Burgie Estate in Moray, Scotland, with the option to pursue either architectural or environmental conservation.
Grab your walking shoes, camera and note books; the “summer school” version of the traditional building conference makes its way to the Connecticut coast this July.
The Traditional Building Conference Series makes its second stop in 2016 at the New Haven Lawn Club. This handsome colonial revival building is the setting for the July 19-20 event. Attendees will meet and greet sponsors who specialize in products and services for historic preservation and traditionally inspired new construction. There are seven courses and tours offering 11 American Institute of Architects’ Learning Units, mostly Health, Safety and Welfare credits. Adjacent to the Yale campus and downtown New Haven, many notable buildings are within easy walking distance of the New Haven Lawn Club.
SAH member Patrick Pinnell will lead a tour and lecture titled, Yale's and New Haven's Architectural and Urban Legacy: Form, Ideals, Preservation and Change over Four Centuries.
To register for the New Haven, CT conference, visit www.traditionalbuildingshow.com. Group discounts for three or more registrants for both days are available by contacting Carolyn Walsh email@example.com or call (781) 779-1560.
For questions about education, please contact Judy Hayward firstname.lastname@example.org or call (802) 674-6752.
The Visual Resources Association's (VRA) Foundation is offering its fourth Internship in visual resources and image management, thanks to the generosity of the Samuel H. Kress Foundation.
The award grants $3,000 to support an internship in archives, libraries, museums, visual resources collections, or other appropriate settings. It also provides a professional development account of $1,000 to be used for attending conferences, including the VRA Annual Conference and/or Summer Educational Institute for Visual Resources and Image Management (SEI).
The student will provide 200 hours of service over the course of their internship. In order to be eligible for the internship, the student must have completed at least ten credits of graduate coursework in Library/Information Science, Art History, Architecture or Architectural History, Visual or Studio Art, Museum Studies, or other applicable fields of study.
Although this internship is available to non-US residents, the work must take place at an institution within the USA. While Canadian institutions are not eligible to host a VRAF intern, such internships might be of interest to any number of people who are seeking VR-related internships and can be included in our list of available opportunities.
If you and your institution are interested in hosting a student during the Fall, Winter, or Spring of the 2016-2017 academic year, please email me (email@example.com) the following information:
*Brief description of internship*
With this information, a list of potential internship sites will be compiled and added to the VREPS (Visual Resources Emerging Professionals and Students) website to help student applicants find an internship in their geographical area.
To get this list posted online in time for potential applicants to access it before applying, we need this information by *June 29th, 2016* (apologies for the short deadline).
We are excited that the VRA Foundation was able to provide the internship again this year and hope that you will consider being a host site for this wonderful opportunity for students just starting out in the fields of visual resources and image management.
More information about the internship can be found here: http://vrafoundation.org.s119319.gridserver.com/index.php/grants/internship_award/ (in the process of being updated)
OPEN ISSUE: Return to Origins
Call for Creative Design Research Projects In 2016, after many years of publishing the work of emerging and established researchers, Interstices: Journal of Architecture and Related Arts is resuming its earlier commitment to the publication of postgraduate student research design projects. Recent or ongoing postgraduate researchers in architecture and related art and design fields are invited to submit projects for a new peer-reviewed section of the journal.
Projects should be complete at the time of submission and are to include a design synopsis of 1500 words.
Project documentation and the synopsis should meet the following criteria:
Be original and unpublished previously
In the case of visual material, include no more than six indicative views of the proposal
In the case of moving image, animated sequences, or audio works, not exceed 4 minutes duration
Include a scholarly and critically contextualising synopsis for the project coauthored by both the project's creator and the supervisor(s) involved. The synopsis should bear the name of the researcher as the primary author and the supervisor as the secondary author.
Establish an overt relationship with a particular journal issue thematic (where this exists).
While there is no specific thematic for issue 17, project authors may choose in this case to focus on the issue?s sub-theme, Return to Origins, when considering submissions.
Please submit full project documentation for the Interstices 17 journal issue to Dr Sue Hedges (firstname.lastname@example.org<mailto:email@example.com>) by 8 August 2016.
All submission will be blind refereed by an invited panel.
Visit our website to view the Guidelines for Submissions for details about the reviewing process, copyright issues and formatting: http://interstices.ac.nz/information-for-contributors/guidelines-for-submissions/.
We look forward to your contribution!
Journal editors: Andrew Douglas, Ross Jenner, Sue Hedges
Call for Papers
A Colloquium on Ficto-Critical Approaches to a Writing Architecture
Supported by the ATCH (Architecture Theory Criticism History) Research Centre
School of Architecture, The University of Queensland, Brisbane
To be held Friday 5 August 2016 in Brisbane, Australia
Due date for abstracts: 8 July 2016
Abstracts are sought from those wishing to participate in a colloquium exploring ficto-critical approaches to a "writing architecture". Selected papers from the colloquium will be published in a book. Early career researchers, from any field, are particularly encouraged to submit.
Both architects and fiction writers imagine new worlds into being. Both architects and fiction writers describe and document these worlds, they projectively inhabit and occupy them. They each produce settings - for lives and narratives. Every architectural proposition is a kind of fiction, before it ever becomes a built fact; likewise every written fiction relies on setting, the construction of a coherent milieu and context in which a story can take place.
But what, then, of the role of fiction, and writing, in criticism ? of architecture and other things? Ficto-criticism fuses the forms and genres of essay, critique, and story. It combines the techniques of fiction and critical theory with the aim of challenging assumptions about our contemporary social and political realities. Although fiction is never obliged to be faithful to reality, when combined with the emancipatory potential of criticism it holds the power to disrupt habitual ways of seeing and acting amidst our everyday lives.
This colloquium brings ficto-criticism together with experimental approaches to architecture as a world-making or constructive practice. Ficto-criticism is a method that innovatively combines the disciplines of architecture, philosophy and literature in order to enable both the critique of, as well as speculative explorations of world-making practices (Gibbs 2005; Meuke 2002).
The a-grammatical construction of "a writing architecture" acknowledges a debt to architectural theorists such as Jane Rendell and Katja Grillner (Rendell 2005; 2010) who have explored how far experimental approaches to writing can be used to alter and expand architectural design thinking.
While fiction is a powerful means by which we can speculatively propel ourselves into other imagined worlds, criticism offers the situated capacity to ethically cope with what confronts us.
Ficto-criticism for architecture assumes the constructive, creative and critical situatedness of the thinking-designer in the midst of their problematic field, suggesting both means of speculating on near futures as well as the capacity to critique the present where it has become oppressive (Petrescu 2007). The power of conjoining fiction and criticism across the linking punctuation of the hyphen as a ficto-critical practice provides opportunities for writers both within and without the discipline to explore "a writing architecture."
Format: The colloquium will take the form of twenty minute presentations ? either manifesting or reflecting on methods of ficto-critical writing in architecture ? followed by extended discussion and readings by other participants. Given the nature of this format, the number of speakers (and abstracts accepted) will be limited.
Confirmed speakers: Anna Gibbs, Katrina Schlunke, Andrew Steen, H?l?ne Frichot, Naomi Stead
Convenors: Dr H?l?ne Frichot
Associate Professor Docent - Critical Studies and Gender Theory in Architecture
School of Architecture KTH (Royal Institute of Technology), Stockholm
Dr Naomi Stead
Associate Professor ? Deputy Director of the Research Centre ATCH
School of Architecture, The University of Queensland, Brisbane
Enquiries: Naomi Stead firstname.lastname@example.org
Abstracts of 300 words
Plus a biographical note of 100 words
Should be emailed directly to email@example.com and firstname.lastname@example.org
Before Friday 8th July 2016
A presentation with local architects, local heritage, and local solutions.
Adrian Evans, JPE Design Studio
Douglas Alexander, Flightpath Architects
with convenor David O?Loughlin, Mayor of Prospect
Including a tour of the newly extended Adelaide High School, West Terrace, Adelaide
Wed 29th June 6.15 pm ? 8pm
Bookings Essential : $10 (or $5 students)
Tea & Coffee provided
Bookings Online at: https://www.trybooking.com/Booking/BookingEventSummary.aspx?eid=203829
This is a rare opportunity to tour the Art Deco influenced Adelaide High School and see the $22million extensions with the architect.
Enquiries: Alison 0408 850 234 email@example.com
Across all cultures and time, people have sacralized space to commemorate past events and create places of ritual and worship. Our impulse to establish sacred space is as relevant today as it was millennia ago. The spiritual or venerable nature of a space is not de ned by the size or formality of its structure. Spontaneous memorials that spring up at the sites of tragedies around the world share their motivations with ancient pyramids of the Americas, cathedrals of Medieval Europe and imperial palaces in China. What deems a site, building or memorial sacred? What is the role of the sacred in today’s increasingly globalized and multicultural experience?
Registration for the SESAH Conference in New Orleans is now open! Please join us September 28-October 1, 2016, for a program of paper and poster sessions, plenaries, and tours.
Assist in the development of a project described in the following website:
Work can be performed from the intern's home location.
Aquarius Redux seeks to revisit, reconsider, reimagine and expand histories of countercultural architecture.
Moving beyond extant readings of psychedelic design, communal dome building and failed utopian dreamers, this symposium will examine how more nuanced accounts of counterculture can inform the history, practice and discipline of architecture.
This might include: reexamining the continuities and disruptions in Anglo-American countercultural thinking and practices; the significance of counterculture’s cultural, political, technological and aesthetic experimentation for contemporary environmentalism, lifestyle branding, business thinking or cyberculture; and a more detailed picture of an international, or transnational, counterculture that extended to South America, Asia and Eastern Europe, with distinctive manifestations.
Given the burgeoning global interest in the history and continuing influence of alternative architectures, such as radical ecological, participatory and activist design practices, the symposium is especially interested in tracing the broader geographies and discourses of this activity. How was architecture affected and implicated in the dramatic social, political, economic and cultural shifts of the 1960s and 70s? What are the historical relationships between countercultural experiments and architecture's knowledge base, pedagogical structures, technologies, territories, its representational and practice forms? How did architecture as a discipline relate to the tumult of the period? The symposium aims to broaden our understanding of the discipline's transformations, through expanding extant histories of countercultural architecture.
A symposium marking the fiftieth anniversary of Robert Venturi's 'gentle manifesto'
David Brownlee, University of Pennsylvania
Martino Stierli, The Museum of Modern Art
More information to be announced.
CALL FOR PAPERS
Modernity’s ‘Other’ – Disclosing Southeast Asia’s built environment across the colonial and postcolonial worlds
Dates: 5-7 January 2017
Venue: Department of Architecture, SDE, National University of Singapore
Convenors: Dr. Lee Kah-Wee, Dr. Imran Tajudeen, Dr. Chang Jiat-Hwee
Abstract Submission Deadline: 5 July 2016
Confirmed Keynote Speakers:
Abidin Kusno, Institute of Asian Studies, University of British Columbia
Carl Trocki, Fellow, Australian Academy of the Humanities
Across various disciplines, attention on the category of the “Other” has shone light on women, minorities, the poor, profane, criminal and mundane. But what and where is the category of “Others” in architectural studies? Is it to be attached to the spaces and buildings associated with these marginalized social categories? Or are there intrinsically architectural “Others” – subjects within the discipline that undergird its internal discourse through contrast and opposition – that should be opened up to interdisciplinary scrutiny? Finally, what can Southeast Asia offer to the larger intellectual debates in which the category of the “Other” has played a critical role in the last few decades?
This series of questions forms the intellectual agenda of the Southeast Asia Architecture Research Collaborative (SEAARC) Symposium 2017. It is of course not new. One might say that the category of the ‘Other’ is inherent to every discipline’s capacity to reflect on and renew itself. Its generative power lies in how it lends a critical and corrective perspective to the grand narratives of modernity and the internal structures of scholarly discourse. With the postmodern turn towards the everyday, for example, architectural studies have jettisoned the cathedral for the bicycle shed, giving rise to studies in vernacular architecture, counterculture and domestic environments. Studies into the relationship between nationalism and architecture shuttled between, on the one hand, an imperial imperative to establish architectural exemplars of new national identities and on the other, critical inquiries aimed at demystifying this will-to-essentialize by revealing its violence and contingencies. Post 1960s, anthropology, postcolonial and feminist theory, cultural studies and new historicism have all left an indelible imprint on the internal and external reorientation of architectural studies.
Nevertheless, this conference contends that more can be gained by interrogating the concept of the “Other”. It asks not only that we broaden the types of buildings that merit serious scholarly interest, but to question if the field itself can be broadened – the range of discourses, settings, politics and practices wherein the built environment becomes a foil for understanding the hidden and suppressed aspects of societies. It seeks fresh collaboration with allied disciplines that might throw up promising directions in how one can theorize and analyze the “Other”, as well as the challenges of such projects. And finally, by positioning the inquiry in Southeast Asia, this conference takes the world-historical patterns of colonial and postcolonial development, nationalism, economic globalization and cultural change as the broad canvas on which the historical and contemporary transformations of this region are writ large.
The ambition of this conference extends from the first SEAARC symposium, “Questions in Southeast Asia’s Architecture/Southeast Asia’s Architecture in Question”. We see this firstly as a stocktaking of current research on architecture and urbanism in Southeast Asia and secondly as an opportunity to provoke dialogue around an infamously (re)generative concept. The SEAARC is also committed to encouraging discourse amongst and giving visibility to scholars from regions that may not be well represented in major conferences, and as such, we continue to provide financial assistance to these participants. Details on financial assistance are given at the bottom of this CFP.
Visit ICEBERGS in the Museum's Great Hall. Designed by James Corner Field Operations, the installation opens as part of the annual Summer Block Party series, July 2 - September 5.
Explore a fantastical glacial sea designed by landscape architects
Ascend to a viewing area inside the tallest berg
Traverse an undersea bridge or slide down an ice chute
Sample Japanese kakigori shaved ice provided by the restaurant Daikaya
Learn about how design can transform spaces and lives
ICEBERGS is built from re-usable construction materials, such as scaffolding and polycarbonate paneling, a material commonly used in building greenhouses. The 20' high "water line" allows panoramic views from high above the ocean surface and down below among the towering bergs. The tallest “bergy bit,” at 56', reaches to the third story balcony of the Museum. ICEBERGS occupies a total area of 12,540 square feet.
The National Humanities Center invites applications for academic-year or one-semester residencies. Fellowship applicants must have a PhD or equivalent scholarly credentials. Mid-career as well as senior scholars from all areas of the humanities are welcome; emerging scholars with a strong record of peer-reviewed work are also invited to apply. The Center does not normally support the revision of a doctoral dissertation. Located in the progressive Triangle region of North Carolina, the Center affords access to the rich cultural and intellectual communities supported by the area’s research institutes, universities, and dynamic arts scene. Fellows have private studies; the library service delivers all research materials. Scholars from all parts of the globe are eligible; a stipend and travel expenses are provided. The deadline for applications is October 18, 2016.
The National Humanities Center does not discriminate on the basis of race, color, sex, gender identity, religion, national or ethnic origin, handicap, sexual orientation, or age. We are dedicated to fair treatment, diversity, and inclusion.
Today the Getty Research Institute (GRI) launched an updated version of its research tool, the Getty Research Portal ™. A virtual library of art history texts, the newly redesigned Getty Research Portal now offers more than 100,000 volumes available from more than 20 international partners.
Launched in 2012, and created in partnership with some of the world’s leading art libraries, the Getty Research Portal is a free online search gateway that aggregates the metadata of art history and cultural texts, with links to fully digitized copies that are free to download. There are no special requirements in order to use this resource and it is completely open to anyone with internet access.
“When we began this exceptional project we had eight founding institutions, all committed to sharing their digitized collections of rare books, foundational art historical literature, catalogues, periodicals, and other published resources with researchers without limit or impediment,” says Thomas W. Gaehtgens, director of the GRI. “On our 4th anniversary, we renew that commitment, with an improved user interface, more international partners, and now more than 100,000 volumes available for download. Thousands of people use this tool and our books have been viewed nearly 13 million times. This broad access is fundamental to the GRI’s mission to further the understanding of art and a core principal in our approach to art historical research.”
The re-launched Portal has been rebuilt and redesigned, marking it easier to explore digitized texts on art, architecture, material culture, and related fields from the Getty Research Library and international partners. The new user interface features several key improvements, including: new search filters that make results sortable by criteria such as date and language; a responsive design that allows for better use on phones and tablets; individual pages for each digitized text enabling users to easily share links; prominent display of edition details for books, when available; and new additions from participating libraries are more clearly highlighted.
“The Getty Research Portal aspires to offer a more expansive and global collection than any single art library could provide,” said Kathleen Salomon, assistant director at the GRI. “In just four years, we have seen the Portal grow significantly and internationally, from our original eight partners to currently 21 institutions. Working with them, we provide a reliable resource and a convenient tool for scholars and researchers at all levels and now can claim 70,000 individual visitors.”
Over the past year, the GRI has expanded the Portal project significantly by adding scanning workstations and staff to rapidly scan titles that have been carefully selected for inclusion in the Portal, more than doubling the capacity for digitizing Getty Research Library collections. Additionally, new partners are greatly adding volumes to the Portal.
The newest partners to join the Getty in this effort are the Art Institute of Chicago’s Ryerson and Burnham Libraries, the Bibliotheca Hertziana – Max Planck Institute for Art History in Rome, the Herzog August Bibliothek in Wolfenbüttel, the Menil Library Collection in Houston, the Solomon R. Guggenheim Museum Library and Archives in New York, and the Warburg Institute Library in London. They join the Heidelberg University Library, the Thomas J. Watson Library at the Metropolitan Museum of Art, the Smithsonian Libraries, the Institut National d’Histoire de l’Art, the Library of the Philadelphia Museum of Art, the Avery Architectural & Fine Arts Library at Columbia University, the Sterling and Francine Clark Art Institute Library, the Frick Art Reference Library, the Brooklyn Museum Libraries and Archives, the New York Art Resources Consortium, the National Gallery of Canada Library and Archives, the Kunsthistorisches Institut in Florenz, the Biblioteca de la Universidad de Málaga, and Gallica: Bibliothèque national de France. Getty partners include the Getty Research Institute, the Getty Publications Virtual Library, and the Online Scholarly Catalogue Initiative.
Overseeing this vast expansion of content is Anne Rana, Project Manager. Senior Software Engineer Joshua Gomez and his team are responsible for the software improvements and ongoing technical support.
The Getty Research Portal can be accessed at Portal.getty.edu.
The relationship between the scholarly interrogation of cinema and architecture has an established history. This symposium seeks to do two things: first, to chart this history from both disciplinary perspectives and their sometime mutual engagement, in the process offering rejuvenation; and second, to suggest new directions for research in this area, taking on both historical and recent developments in the relationship between film and architecture. We are seeking symposium papers that go beyond citing the representation of famous architecture and built environments on film, and instead look at the mutual impact of each art form and their scholarly analysis.
The symposium will be organised as plenary sessions comprising panels of three papers running 30 minutes each followed by generous discussion, so that all participants can attend each paper. Presenters are invited to propose abstracts for papers starting from diverse points of entry and background in cinema studies, architecture studies, or a mixture of both, with a focus on the combination of critical and theoretical work with specific filmic-architectural examples and analysis.
General topic areas for possible papers include, but are not limited to, the following:
Examining the role 1920s cinema has played for film-architecture scholarship, and how best to productively understand this ?foundational? heritage today.
Assessing the productive role played by the study of 1940s & '50s film noir (and later "neo" iterations) in film-architecture scholarship.
Examining the importance of 1950s & '60s post-war modernist art cinema in relation to late modernity's transformation of urban space, and its radical impact on human experience.
Explorations of film-architecture research on suburban built environments in the cinema.
Explorations of (and the need for) scholarly work on small-town, village, and rural built environments on screen.
Assessments of the extent to which post-colonial interrogations and increasingly urgent calls for a "world cinema" approach are reflected in film-architecture scholarship.
The symposium convenors invite interested scholars from around the world to send proposals for proposed papers related to the above topics, or to suggest others. Please send a 300-word abstract and 100-word biography (including university staff or other relevant webpage link) to hamish.Ford@newcastle.edu.au, using the email subject line "New Directions in Film-Architecture abstract", by 15 July, 2016. The symposium convenors will send out formal acceptance emails at the beginning of August.
We look forward to hearing from you!
Hamish Ford (University of Newcastle), Michael Chapman (University of Newcastle), Charles Rice (University of Technology, Sydney), Sam Spurr (University of NSW).
The M+ / Design Trust Research Fellowship programme supports an original research project investigating issues relating to design and architecture in the Greater Pearl River Delta region, and between the region and other parts of the world. In addition to expanding the current body of knowledge in these areas, the findings from the fellowship will inform future acquisitions and other programmes at M+.
Applicants should engage in advanced research on historical or contemporary topics relating to either a single discipline (such as architecture, graphic design, industrial design, and urbanism) or cross-disciplinary developments, taking into consideration the region’s cultural, social, economic, and political milieus as well as its international and cross-cultural networks. Although post-1949 topics are preferred, exceptional proposals focusing on issues related to the beginning of the twentieth century will also be considered.
The successful applicant will be attached to M+ for three to six months in 2017, conducting independent research, preferably on a full-time basis. The fellow is encouraged to engage in intellectual exchanges with the museum’s curatorial staff and participate in its programmes. While outcomes may vary, the fellowship should at minimum result in 1) a paper (5,000 words or more) disseminated digitally or in print through M+ and Design Trust’s platforms and 2) a lecture as part of the museum’s public programme.
Applications are welcome from individuals of all nationalities whose areas of research are in design, architecture, or a related field. Applicants should either hold a post-graduate degree in a relevant discipline or an undergraduate degree with minimum three years relevant professional work or academic research experience. Proficiency in spoken and written English is also required.
The M+ / Design Trust Research Fellow will receive a lump-sum stipend of up to $40,000 HKD per month for three to six months to cover research-related and living costs. (The monthly stipend may be prorated for a part-time fellow, depending on individual circumstances.) An overseas fellow may request a one-time travel subsidy of up to $10,000 HKD, covering transportation to and from the place of origin and Hong Kong.
The deadline for submitting the application is 22 July 2016.
Please send all application materials digitally and address enquiries to firstname.lastname@example.org.
For the application form and further information, visit www.westkowloon.hk/designfellow
A cornerstone of the ambitious West Kowloon Cultural District, M+ is Hong Kong’s new museum for visual culture, encompassing twentieth and twenty-first century art, design and architecture, and moving image from Hong Kong, China, Asia, and beyond.
From its vantage point in one of the world’s most dynamic regions, M+ documents the past, informs the present, and contributes to the future of visual culture within an even more interconnected global landscape. The museum takes an interdisciplinary approach that both challenges and respects existing boundaries, while creating a meeting point for a multiplicity of perspectives, narratives, and audiences.
About Design Trust
Design Trust is a network of individuals passionate about design and its powerful role in societal transformation. The Trust supports creative projects that promote design talent, research initiatives, and content related to Hong Kong and the Greater Pearl River Delta Region. Across a multiplicity of design disciplines from graphics, media, fashion, to the built environment, the Trust aims to actively accelerate the creative design and development of meaningful projects.
Call for papers for issue no 24 of the journal Ridiculosa to be edited by Aline dell’Orto (EHESS/PUC-Rio) and Dominic Hardy (Université du Québec à Montréal)
In his 1908 book L’Esthétique des villes, Émile Magne writes: “A street, no matter how beautiful it may be, doesn’t make its existence manifest simply by virtue of its architecture. As an inert organism, it needs to be inhabited and criss-crossed if it is to acquire a soul.
Then, as a reflection of humanity, it adopts within the human collectivity the attitude conferred by its inhabitants and passers-by.”
As Magne sees it, this “soul of the street” is constituted by people, their objects and their cultural practices. This idea returns a century later, in 2010, when Luca Visconti and his collaborators pen the article Street Art, Sweet Art? Reclaiming the “Public” in Public
Place: “The city is not only made up of people, of buildings, but of relationships between people and buildings, between people and walls,
between the eyes of the people and our poetry.” Whereas Magne refers
to the commercial activities that bring people together in the public space, Visconti et al. are specifically concerned street art as a form of artistic expression.
These two situations share what these writers call the inevitability of public space, that is, the fact that we cannot avoid the images with which public space is invested. By the same token, the quest for a larger audience led artists in the 1960s to leave behind gallery spaces for those of the streets. If urban art is at the core of our investigation of the ways in which public space has been occupied and transformed graphic satire, we also propose a wider temporal and thematic framework in order to place this enquiry into a broader historical structure. We identify three strands as starting points for proposals that may equally well cross aspects of each:
1/The street as physical surface for satirical production Here, we are concerned with the street as a surface for graphic satire and the point of view of production. Walls, pavements, streetlamps, benches are so many sites for satirical expression, as are billboards, vitrines or newspaper-stands, or indeed an official project such as Trafalgar Square’s Fourth Plinth.
2/Satirizing in the Street: Creation and popular gathering The street is also seen as a site for ephemeral expressions, for demonstrations and protest signs. Luca Visconti et al. suggest that we replace the word space by place, a word whose French homonym place offers thought-provoking echoes (place, a public square; place, a position in a hierarchical sequence). This polysemic place is the site par excellence for public gatherings; it is occupied by a population that gives it its meaning. Here we can think of large-scale gatherings that are the occasion for the production of satirical imagery, from the nineteenth century (the carnival of Rio de Janeiro, for example) right through to the present (Québec’s 2012 Maple Spring/Printemps érable movement).
3/Transitioning towards a satirical heritage By slightly inverting this logic, we are also interested in the gaze of the spectator and in the reception of this satirical imagery. Here, the street is understood as a site of transition; despite ourselves, we are caught up in a wide range of satirical and humorous images, so that new forms of consumption are created. What relationships are established between urban dwellers and these visual manifestations? How are we to make sense of the countless surfaces that are covered with unauthorized graphic interventions, furtive and ephemeral—which can eventually become reconstituted as documentary (and documented) traces in an Archive that might be material (or not), or that might be involuntary or indeed unstable?
Proposals, not exceeding 500 words and accompanied by a short biographical notice should be sent by June 30, 2016, to Aline dell’Orto
(email@example.com) and Dominic Hardy (firstname.lastname@example.org).
The list of accepted proposals will be established in mid-September, with final texts to follow by February 15, 2017.
*Architecture as Evidence* presents a set of materials gathered during a forensic analysis of the architecture of Auschwitz. It assembles plaster casts of blueprints, letters, contractor bills, and photographs, as well as two reconstructed monuments (a gas column and a gas-tight hatch), which together provide tangible evidence that Auschwitz was designed by its architects as an efficient system of mass murder. In focusing on seemingly minimal architectural decisions with mortal consequences, the exhibition questions the idea of architecture as a neutral background against which different activities can unfold and offers a reminder of the worst acts we can participate in as architects. The material on display is also presented at the 2016 Venice Architecture Biennale. Curated by Anne Bordeleau, Sascha Hastings, Donald McKay, and Robert Jan van Pelt, Waterloo University. Graphic design by Uniform, Montreal.
Chile has gained international recognition for its extraordinary architecture. This success reflects the high-quality modern architecture of the 1960s and the resurgence of new architectural practices at the beginning of the twenty-first century, following a cultural blackout in the seventies and eighties.
During the twentieth century, contemporary architecture in Chile evolved from executing traditional programs in line with the modern precepts of the 1960s towards new architectural practices. The recent eruption of globalized design tools, as well as new local cultural quests, has paved the way for architecture that promotes research and encourages new programs and practices. Architecture emerges as a reflection of research processes, some temporary and others recycled, to build on past works using a contemporary vocabulary.
EXTRA-ORDINARY presents 18 recently completed projects by 16 Chilean architects, including recent Pritzker Prize winner Alejandro Aravena of Elemental. The exhibition showcases photography, schematic drawings, ephemera, and video interviews with the Chilean design community, introducing New York City audiences to the diverse architecture emerging from Chile.
Curators: Jeannette Plaut and Marcelo Sarovic
Organized and produced by: Constructo and the Center for Architecture