Recent Opportunities

  • Call for Proposals: Archeworks Agendas 02

    Chicago | Dates: 03 – 08 Aug, 2017

    Archeworks seeks emerging leaders, change-makers and critical thinkers to submit proposals to present at Archeworks Agendas 02. Last year, we launched Agendas as a platform for sharing ideas and projects that inspire change in Chicago and beyond. It was a huge success! We were able to highlight work that challenges convention, approaches dilemmas, and/or defines new tools and methods. YOU can help us make this year even better!

    Presentations will be limited to 10-minutes followed by a moderated discussion. The event will culminate with a reception and opportunity to meet others with shared interests. If you would like to present at Archeworks Agendas 02 please submit a short description of your presentation (200 words) and 2-3 supporting images (jpgs) to by August 8, 2017.  A total of 5 presentations will be accepted and applicants will be notified by August 10 if their presentation is selected.  Agendas 02 will take place at Archeworks on August 24, 2017 from 6:00 - 8:30 pm

    This event is free and open to the public. RSVP required. Please direct all questions to
  • Rethinking Frank Lloyd Wright at 150

    New York | Dates: 13 – 15 Sep, 2017

    Featuring 18 architects, critics, architectural historians and conservators, this international symposium—organized by the Frank Lloyd Wright Building Conservancy in cooperation with the Museum of Modern Art with major sponsorship support from Morgan Stanley and the Maddalena Group at Morgan Stanley—will highlight new thinking about Frank Lloyd Wright’s architecture and its ongoing interest to contemporary architectural history, culture and practice. Sessions ranging from historiography to preservation to critical reception and influence will look backward and forward in time to offer a framework for reassessing the meaning of Wright’s architecture and its broad impact over the past century and a quarter. How have perceptions of his work changed and evolved? How can its effects on contemporaries be better understood? Is his architectural thought still relevant today? And how were Wright’s ideas about preservation different from those at work today? These are just some of the questions to be debated.

    “At this major international symposium a varied and highly talented group of architects, architectural historians, critics, and conservationists will sidestep conventional opinion in discussing how thinking about Wright’s work has evolved over the past decades and how—and if—it can continue to shape the course of modern architecture,” says Neil Levine, Emmet Blakeney Gleason Research Professor of History of Art and Architecture at Harvard University and chair of the symposium. “Sessions will be devoted to historiography, preservation and influence. A round table of the most significant younger critics writing today will conclude by offering perspectives on where things now stand and what issues may come into play in the future.”

    Symposium Committee

    Neil Levine, chair
    Richard Longstreth
    Dietrich Neumann
    Jack Quinan


    The Roy and Niuta Titus Theater 1 at The Museum of Modern Art
    11 W. 53rd St. (The Ronald S. and Jo Carole Lauder Building entrance)
    New York, NY 10019

    Symposium Schedule

    Wednesday, Sept. 13, 6:30 p.m. – Keynote Address

    Barry Bergdoll, Meyer Schapiro Professor of Art History and Archaeology, Columbia University; Curator, Department of Architecture and Design, Museum of Modern Art

    Thursday, Sept. 14, 9 a.m. – 5 p.m.

    Neil Levine
    , Emmet Blakeney Gleason Research Professor of History of Art and Architecture, Harvard University

    Jean-Louis Cohen, Professor, Collège de France, Paris; Sheldon H. Solow Professor in the History of Architecture, New York University

    Cammie McAtee, Architectural historian

    Jack Quinan, Distinguished Service Professor Emeritus, State University of New York at Buffalo

    Kathryn Smith, Architectural historian

    Richard Longstreth, Professor of American Studies and Director of the Graduate Program in
    Historic Preservation, George Washington University

    Alice Thomine-Berrada, Senior Curator, Musée d’Orsay, Paris

    Daniel Bluestone, Director, Preservation Studies; Professor History of Art and Architecture, Boston University

    T. Gunny Harboe, Founder and Principal, Harboe Architects; Vice President, ICOMOS International Scientific Committee on 20th Century Heritage

    Ellen Moody, Assistant Projects Conservator, Sculpture Conservation, Museum of Modern Art
    Friday, Sept. 15, 9:30 a.m. – 12:30 p.m.

    Dietrich Neumann, Professor of History of Art and Architecture and Director of Urban Studies,
    Brown University

    Tim Rohan, Associate Professor of Art History, University of Massachusetts, Amherst

    Aaron Betsky, President, the School of Architecture at Taliesin

    Critics Roundtable, moderated by Michael Kimmelman (New York Times) and featuring Reed Kroloff ( jones | kroloff ), Mark Lamster (Dallas Morning News) and Alexandra Lange (Curbed)

    How to Attend

    Attendees of the Frank Lloyd Wright Building Conservancy’s annual conference receive priority reserved seating at the symposium. The rest of the theater is open seating free to the public on a space-available basis. We encourage you to RSVP but admission is not guaranteed.

  • 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, ; Paul Emmons, Virginia Polytechnic Institute and State University,

    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.
  • Speech Balloons and Thought Bubbles: Architecture and Cartoons

    Dates: 03 – 14 Aug, 2017
    Society of Architectural Historians
    Speech Balloons and Thought Bubbles: Architecture and Cartoons
    Chair(s): Andreea Mihalache, Clemson University, ; Paul Emmons, Virginia Polytechnic Institute and State University,

    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.
  • Living Heritage Symposium

    San Antonio | Dates: 06 – 08 Sep, 2017
    The San Antonio Living Heritage Symposium is a collaborative forum bringing international and local heritage professionals, policy-makers, grassroots preservationists and academics together for an exchange of ideas leading to the development of best practices for safeguarding cultural heritage.
    Experts will present relevant work and attendees will work together in World Cafe style workshops to draft recommendations that San Antonio and other U.S. cities can utilize.
    Historic Preservationists, Heritage Management Professionals, Urban Planners, Architects, Cultural Properties Specialists, Cultural Resources Managers, Tribal Leaders, Grassroots Preservationists, Diversity Officers, Academics working in relevant fields, and municipal employees engaged in economic departments, urban planning, development services and sustainability.
    The expectation is participants will bring a level of expertise and experience which will advance heritage tools in policy and regulation in the United States.
  • Richard Nickel and the Lost Drawings of the Town of Pullman

    Chicago | Dates: 29 – 29 Jul, 2017
    Richard Nickel and the Lost Drawings of the Town of Pullman 
    Historic preservation advocate Richard Nickel is best known for his life-long work protecting, documenting, and salvaging the works of architect Louis Sullivan. However, a lesser known fact is that Nickel also played an important role in documenting and preserving Pullman's original architectural drawings.

    Join us for an exciting discussion about how architect S.S. Beman's drawings for the Model Town of Pullman were discovered after sitting forgotten for nearly a century in a dusty corner of the Pullman Factory Administration "Clock Tower" Building in the late 1960s. Hear from Pullman residents and PNMPS members Charles E. Gregersen and Paul Petraitis how their friend Richard Nickel was chosen to photograph these drawings, what their role was in the process, and where these drawings (and Nickel's photographs) are today.

    Saturday, July 29, 2017 from 3:00-5:00 p.m. at Pullman's Historic Greenstone United Methodist Church, 11211 S. St. Lawrence Avenue, Chicago, Illinois.

    Tickets: $10 Suggested Donation
  • CFP: Charrette 6(1) - Flipping the Script: Foregrounding the Architecture Student

    Dates: 27 Jul – 27 Oct, 2017

    Charrette (ISSN 2054-6718) is the journal of the Association of Architectural Educators. Volume 6, issue 1 (Spring 2019) will have the theme 'Flipping the Script: Foregrounding the Architecture Student.' We invite papers and essays that foreground the experiences and perspectives of architecture students.

    Guest Editor ? James Thompson, University of Washington, Seattle.

    Editor ? James Benedict Brown, De Montfort University, Leicester.

    Assistant Editor ? Amanda Hufford.


    Traditionally, educational theories have foregrounded teaching by focusing on aspects like pedagogy and curriculum from the position of the educator.

    Whereas learning has certainly been stated as a chief objective of education, the assumption has been that learning can be expected to occur if teachers are knowledgeable and passionate. Consider Donald Sch?n?s infamous portrayal of Petra as an (uncritical) architecture student who models the behavior of her tutor Quist. In the time since this publication, a paradigm shift within higher education has engendered theories of learning and practices that acknowledge the agency of students in the learning process. Education is frequently conceptualized as more than transactional but as a narrative of personal and social transformation.

    Despite the growth of scholarship in this area within professional fields like medicine and social work, educators in architecture have been relatively slow to adopt this perspective. In addition to our general lack of reflection on our teaching and learning practices, most of what still gets considered ?research? on architectural education celebrates bloviating over empirics, product over process, and ostensibly educators over learners. Students typically appear much like clients do in accounts of architectural design projects?as recipients more than contributors, objects more than subjects. Yet change is evident. Parallel to new educational approaches in architecture programs around the world, scholars are beginning to take into account themes and methods appropriate for examining how students navigate architecture school and transition into the complex professional world. This issue seeks to exhibit and build on the momentum of this work while further fostering scholarship on architectural education that considers learners? points of view.


    This issue of Charrette seeks to foreground the student experience in architectural education?including themes of learning, student agency, and identity transformation. How can the perspectives of learners help inform and improve our teaching practices? What role do students themselves actually play?in operative, performative, or normative terms?in shaping architectural education? (How) has this changed over the past several decades? How do levels of student participation differ based on different cultural contexts within academia, and what effect does this have? What can we learn from case studies of student governance and models of self-education? How do architecture students sustain their identity and wellbeing while developing a sense of purpose and belonging? In what ways can the perspectives of traditionally underrepresented voices challenge dominant preconceptions of the (ideal) architecture student? What impact have attempts to expose architecture?s ?hidden curriculum? had on design education? What are the most effective ways to elicit perspectives of architecture students given inherent power differentials and typical shortcomings of strategies like course evaluations? How can research be designed to position students as protagonists in the story of architectural education? Do the first-person accounts and concerns of students compel us to revise existing theories of architectural education?


    Based on the issue?s theme and the preceding questions, contributions are invited from teachers, mentors, and learners (past and present) that address one or more of the following:

    - Becoming and being an Architecture Student; Becoming and being an

    Architect: Professionalization as Identity Transformation

    - Student Agency, Participation, and Governance in Architectural Education

    - Access, Diversity, and Gatekeeping in Architectural Education

    - Approaches to Student-centred Teaching and Curricula in Architectural Education

    - Novel Approaches to Research and Teaching Related to Learning and Learners


    In their expression of interest, authors should clearly indicate which of the following formats they are submitting under:

    - Conventional Essays 5,000 ? 8,000 words (including all references and endnotes). Essays will explore a topic or topics on architectural education and connect to contemporary scholarship. Authors must demonstrate their intellectual and theoretical context, as well as their methodological approach, and have a clear conclusion.

    - Personal Narratives 3,000 ? 5,000 words (including all references and endnotes). Submissions to this section will substitute traditional ?academic? data with descriptive and reflective content related to personal experiences of architectural education. Authors are welcome to submit their narrative work in written and/or graphic form.


    Queries regarding the theme of this special issue should be directed to the Guest Editor, Dr. James Thompson -

    500 word expressions of interest should be submitted in the body email, containing author name(s), affiliations and contact details to according to the timeline below.

    Selected authors will then be invited to submit a full paper for double blind peer review and editorial review.

    July 2017 ? Call for contributions disseminated 12:00GMT 27 October 2017 ? Expressions of interest due

    8 December 2017 ? Notification of selected contributions

    4 May 2018 ? Submission of full articles due

    3 August 2018 ? Notification of reviewers? comments

    2 November 2018 ? Submission of final revised articles due Spring 2019 ? Publication of Volume 6 ? Issue 1

    Download a PDF version of this call here:

    Read all issues of Charrette (ISSN 2054-6718) open access here:

    James Benedict Brown

    Editor, *Charrette*

    Amanda Hufford

    Assistant Editor, *Charrette*

    James Thompson

    Guest Editor, *Charrette* 6(1)

  • The Gardens Trust West Midlands Autumn Lecture: Pleasure and Production

    Birmingham | Dates: 11 – 11 Oct, 2017

    Dianne Long will explore the landscapes of eighteenth century industrialists, whose gardens have attracted little attention compared with those of the landed gentry and aristocracy. Proximity to their industrial activity was crucial for such entrepreneurs, especially in the initial growth period, but what influenced the development of their pleasure landscapes alongside the productive, did the two interact in any way and was there anything distinctive in what they created? Dianne will discuss these themes with particular reference to the Midlands and ceramic manufacturers in Staffordshire.

    Doors open at 6.30pm, complimentary glass of wine/soft drink and the lecture starts at 7pm.

    For further information:

  • CFP: Spaces of Fear in the 20th Century City (EAUH 2018) (Rome, 29 Aug-1 Sep 2018)

    Rome | Dates: 27 Jul – 05 Oct, 2017
    Rome, 29.08. - 01.09.2018
    Eingabeschluss: 05.10.2017

    Session M28 EAUH 2018
    Urban Renewal and Resilience. Cities in Comparative Perspective
    14th International Conference on Urban History

    Spaces of Fear in the 20th Century City

    Chairs: Mikkel Høghøj (Aarhus University), Monika Motylinska (Leibniz
    Institute for Research on Society and Space IRS, Erkner)

    At first sight, a badly lit pedestrian underpass in a mass housing
    estate, a city park in the night, a slum district dominated by gangs, a
    horror theatre or a prison have little in common – but for being
    'spaces of fear'.

    Inspired by recent theories on ‘emotional geographies’, this session
    aims to approach ‘fear’ as a historical phenomenon within the spatial
    settings of 20th century cities. Though touched upon within disciplines
    such as sociology and human geography, this relationship remains
    relatively underexplored within the field of urban history.
    By addressing different aspects, roots and shades of the tension
    between fear and urban space, this session seeks to explore dynamics
    and impacts of fear in the production of 20th century urban space. In
    an urban context, fear has always been associated with certain types of
    urban areas – from slum districts in the industrial city to mass
    housing complexes in the periphery of the post-industrial city. Urban
    segregation has increased tremendously during the 20th century,
    materialising in suburban development as well as gated communities
    around the globe. Such processes have often been interconnected with
    issues of class, race and the fear of ‚otherness’ – and arouse in
    relation to different political and social crises. It is to assume that
    due to regional specifics, even similar urban settings might evoke very
    different kinds of fear – for instance, when we compare the discursive
    perceptions of mass housing estates in the East and West in the
    post-war period. Yet, the patterns of urban fear are not limited to the
    negative context – as many places of fascination with fear such as
    dungeons as tourist attractions or horror theatres have evolved across
    the 20th century.

    We invite papers investigating 'spaces of fear' from different
    perspectives and through different methodological and theoretical
    approaches. Questions that papers might consider include:
    • Which urban temporalities and cycles of fear can be identified in the
    20th century? How are they intertwined with real and imagined danger
    (e.g. fear of terrorism or epidemics)?
    • How did cities themselves trigger fear? How was this reflected in the
    mass media and popular culture?
    • What gender issues occur in an urban context of fear?

    Thus, by addressing different facets of fear, this session seeks not
    only to uncover new political, social and cultural dimensions of the
    20th century city, but also to further enhance dialogue between urban
    history and emotional history.

    Keywords: fear; urban segregation; slum districts; mass housing;
    emotional history; emotional geography

    Paper proposals can only be submitted online, via the EAUH2018 website.
    To submit a paper proposal, registration is required
    Abstracts should not exceed 3000 characters
    Deadline for paper proposals submission: October 5th, 2017
    Notification of acceptance: December 1st, 2017

  • CLARA Architecture/Recherche Journal #5: Architectural Criticism and Public Debate

    Dates: 27 Jul – 15 Oct, 2017


    Guest editors: Hélène Jannière (Université Rennes 2) & Paolo Scrivano (Xi’an Jiaotong-Liverpool University) 
    deadline: October 15th 2017 (full articles!)
    download the full call in PDF format

    This thematic section of CLARA Architecture/Recherche Journal’s forthcoming issue Journal is centered on the relationship between architectural criticism and the notion of “public opinion”, the “public realm”, and on architectural criticism conceived as an autonomous discourse, internal to architectural theories and history.

    The issue aims to publish articles that do not consider criticism merely as a body of historical, theoretical or philosophical texts on architecture, but rather as a discipline encompassing diverging protagonists, media, and international exchanges. By posing this hypothesis, the issue seeks to challenge existing concepts related to the reception of architecture in the specialized or public debate seen as a mere passive “reflection” of the building or project.

    In the editors’ view, it is crucial to address the theme of architectural criticism and public debate in order to clarify the definitions of criticism and better understand the overlapping boundaries between criticism per seand other types of writings and discourses on architecture and the built environment. Criticism, historically defined as a literary genre and as a form judgment, is bound up with the emergence during the 18th century of a public space for discussion, as the publication in 1959 of Reinhart Koselleck’s Kritik und Krise made evident. Since the 1980s, art historians or specialists in aesthetics have noted the coincidence between the development of art criticism and the emergence of a public space for debate, the latter conceived in Habermasian terms. Similarly, Richard Wittman (Architecture, Print Culture, and the Public Sphere in Eighteenth-Century France, 2007) grounded his analysis of the formation of a “public discourse on architecture” precisely in the concept of public sphere. Several other scholars have discussed the interactions between art discourse and the public sphere. Can a similar debate be transposed to the realm of architecture? And does the intersection with the public sphere tend to disappear once criticism is intended as a disciplinary discourse, mostly relying on architectural history and theories? 

    This thematic issue intends to address the following questions:

    1. The frontiers of architectural criticism

    Does architectural criticism share themes, protagonists and medias with the public debate or does it maintain an almost exclusive relation to the professional or the academic spheres? If the latter is the case, does architectural criticism pertain to an autonomous disciplinary discourse or does it refer to extra-disciplinary concepts? Provided the changeable nature of its autonomy, to what extent does architectural criticism remain separated from social uses, architectural design practices and economic production?

    2. Architectural criticism and its public

    Can architectural criticism aimed at general audiences be separated from criticism geared towards a specialized public? Is it possible to identify a relation between types of publication (daily newspapers, cultural magazines, political journals, professional periodicals, etc.) and the statuses of the critical discourse? To what extent do these publications and their target readerships influence or create specific forms of criticism?

    The relation between architectural criticism and public opinion can be variously discussed, for example through its connection to the judgment and criteria of evaluation of architecture, as well as through its association to the so-called “crisis” of criticism. Proposed articles may investigate the means by which critics intend to reach various layers of public and how they connect their discourse to those layers. They may also examine the part of the discourse on “architectural judgment” in the debates on architectural criticism. Finally, the editors of this issue encourage the submission of articles that put under scrutiny the relation between “crisis” and criticism, by placing criticism in selected historical moments and specific cultural conditions. 


    First trained as an architect, Hélène Jannière received a PhD (1999) and obtained a Thesis of Habilitation (2011) both in Art History. She has been teaching History of Architecture and Town Planning in French architectural schools from 1994 to 2012, namely at the École nationale supérieure d’architecture de Paris-La Villette. Since 2012, she is Professor of contemporary architectural history at Rennes 2 University. In 2001, she has been the recipient of a fellowship from the Canadian Centre for Architecture. Her main research domain is architectural criticism and 20th-century architectural periodicals. After having extensively published on the subject of architectural magazines of the 1920s and 1930s, her research now focuses on the history of architectural criticism, especially on architecture and urban criticism of the 1950s-1980s. She is currently the scientific coordinator of the international research program Mapping Architectural Criticism. A cartography of architectural criticism, XXth-XXIst centuries (International Research Network), funded by the Agence Nationale de la Recherche (ANR, 2014).

    Main publications:

    • • Michel Ragon, Critique d’art et d’architecture (Rennes: Presses Universitaire de Rennes, 2013), co-edited with Richard Leeman.
    • • “La critique en temps et lieux,” special issue of Les Cahiers de la recherche architecturale et urbaine24/25 (2009), co-edited with Kenneth Frampton.
    • • Architectural Periodicals in the 1960s and 1970s (Montreal: Canadian Center for Architecture - IRHA, 2008), co-edited with France Vanlaethem and Alexis Sornin.
    • • “Paysage urbain : genèse, représentations, enjeux contemporains,” special issue of Strates – Matériaux pour la recherche en sciences sociales 13 (2007), co-edited with Frédéric Pousin.
    • • Politiques éditoriales et architecture “moderne”. L’émergence de nouvelles revues en France et en Italie (1923-1939) (Paris: Éditions Arguments, 2002)


    Paolo Scrivano is Associate Professor of History, Theory and Criticism of Architecture in the Department of Architecture at Xi’an Jiaotong-Liverpool University. He holds a PhD degree in architectural history from the Politecnico di Torino and has taught at the Politecnico di Milano, the University of Toronto, and Boston University. He has authored numerous publications on 20th-century architecture and has been the recipient of several grants and fellowships from institutions such as the Canadian Centre for Architecture, the Center for Advanced Studies in the Visual Arts, the Social Sciences and Humanities Research Council of Canada, and the Australian Research Council. 

    Main publications:

    • • Building Transatlantic Italy: Architectural Dialogues with Postwar America (Farnham - Burlington, Vt.: Ashgate, 2013).
    • • “Intersection of Photography and Architecture,” monographic issue of Visual Resources: An International Journal of Documentation 27:2 (June 2011), co-edited with Maria Antonella Pelizzari.
    • • “Experimental Modernism,” monographic issue of Architecture and Ideas/Architecture et idées VIII/1 (2009), co-edited with Réjean Legault and David Monteyne.
    • • Olivetti Builds: Modern Architecture in Ivrea (Milan: Skira, 2001), co-authored with Patrizia Bonifazio [Italian edition: Olivetti costruisce. Architettura moderna a Ivrea (Milan: Skira, 2001)].
    • • Storia di un’idea di architettura moderna. Henry-Russell Hitchcock e l’International Style (Milan: FrancoAngeli, 2001).

    Les articles seront soumis à travers la plateforme en ligne de la revue:

    Les articles auront une longueur comprise entre 25 et 40.000 signes (espaces, notes, bibliographie, liste des illustrations et note biographique compris, y compris également le résumé).

    Les auteur-e-s potential-le-s peuvent contacter les rédacteurs invites (helene.janniere[at]; paolo.scrivano[at] et/ou le directeur  de la revue (axel.fisher[at] avant d’entreprendre une soumission, afin de verifier la pertinence de leur proposition, et ce jusqu’au 31 août 2017.

  • Luminarts Cultural Foundation Architecture Fellowship

    Chicago | Dates: 27 – 31 Jul, 2017

    The Architecture Fellowship of the Luminarts Cultural Foundation is pleased to award one $5,000 Luminarts Fellowship for excellence in architectural design work. This opportunity is offered in conjunction with the Chicago-Midwest Chapter of the Institute of Classical Architecture & Art. Consequently, proposals that demonstrate the candidate’s greatest potential for contribution to the continuum of Classical design will be most strongly considered. Awardees will be invited to attend all Chicago-Midwest ICAA programming and events – educational and social – over the course of one year, free of charge. Once an individual has been designated a Luminarts Fellow, they are eligible to apply for further Fellow Project Grants through the Foundation. Awardee will receive notice of their fellowship on or before August 15th, and will be honored with a public presentation at the ICAA’s Acanthus Awards ceremony on November 18, 2017.


    Applicants must meet the following eligibility requirements:

    1. Be between the ages of 18 and 30 years old on the date of application;
    2. Be currently enrolled in, or have completed, a degree program, or other professional architect development program;
    3. Live within 150 miles of the Chicago Loop.

    Submission Guidelines

    Four components must be included with each application. These include:

    1. An edited portfolio including no more than three (3) examples of your work, each project formatted to one 8-1/2×11” (portrait or landscape) page, with as much or as little descriptive text included on the page as you deem warranted. The portfolio should be submitted as a single, 3-page document. No cover or title page is necessary.
    2. A career statement outlining your objectives in the realm of architecture, how becoming a Luminarts Fellow would help support those objectives, and how you envision your talents impacting the greater Chicago community. This statement may not exceed 600 words.
    3. Two professional reference letters. This letter should include the name and contact information of your reference.
    4. A current Curriculum Vitae (1 page maximum).

    Each component should be submitted in PDF format, via email addressed to: Filenames shall be composed in the following format: current year, first initial & last name of applicant, and document title (e.g. “2017-JDoe-portfolio.pdf”). Submissions must be received by Monday, July 31st at 11:59pm.

    While applicants may reapply to the Luminarts Fellowship annually, they are only eligible to receive the Fellowship award once.

    For questions about eligibility or more information about the Fellowship visit our FAQs page on the website ( or contact Luminarts directly at

  • HASTAC 2017: "The Possible Worlds of Digital Humanities"

    Orlando | Dates: 03 – 04 Nov, 2017

    The Florida Digital Humanities Consortium is the host for HASTAC 2017! The conference will be held in Orlando, Florida, November 3-4, 2017. The UCF Center for Emerging Media and the newly renovated Downtown Marriott will be the venue for this conference.

    Attendee registration for HASTAC 2017 is now open and the conference hotel, the Marriott Downtown Orlando, is taking reservations.

    Our plenary speakers are an exceptional group of scholars! The Friday panel includes Purdom Lindblad, Assistant Director of Innovation and Learning at MITH, Tressie McMillan Cottom, assistant professor of sociology at Virginia Commonwealth University, and T-Kay Sangwand, librarian for UCLA’s Digital Library Program. The panel will be moderated by Anastasia Salter, assistant professor of Digital Media at the University of Central Florida. Saturday’s final session will feature HASTAC’s own Cathy N. Davidson, from CUNY. The sessions surrounding these will include roundtables, soapbox talks, demos, maker sessions, workshops, media art projects, and posters.

    The HASTAC 2017 Conference affirms, along with the HASTAC network itself, its commitment to an open, equitable, and inclusive environment at our conference. In a recent blog post, the HASTAC leadership stated that we “are committed to advancing equity, inclusion, innovation, and interdisciplinarity in higher education. We celebrate the creative and powerful thinking that results when we work together across all kinds of difference.” For the full post see We are also are committed to having a harassment-free event. Please see our policy statement.

    We are committed to working with presenters and attendees alike on any travel challenges which occur in regards to attending the conference, and our goal is to have an accessible, inclusive environment.

    Our preliminary schedule includes:

    Friday, 3 November 2017:

    7:00am-8:00am Breakfast (included in registration cost)
    8:15am-8:30am Welcoming Remarks
    8:30am-9:45am Opening Plenary Panel
    10:00am-12:15pm Sessions
    12:15pm-1:30pm Hot Buffet Lunch (included in registration cost)
    1:45pm-5:30pm Sessions
    7:30pm-10pm Reception

    Saturday, 4 November 2017:

    7:00am-8:00am Breakfast (included in registration cost)
    8:15am-12:00pm Sessions
    12:00pm-1:30pm Hot Buffet Lunch (included in registration cost)
    1:45pm-4:00pm Sessions
    4:15pm-5:45pm Closing Plenary and Closing remarks

    We look forward to an outstanding conference this year and please contact us with any concerns or issues.
    Bruce Janz, Conference Director, University of Central Florida
    Amy Giroux, Managing Director, University of Central Florida

    Program Committee
    Abby Scheel, Co-chair, Florida State University
    Micah Vandergrift, Co-chair, Florida State University
    Theresa Burress, New College
    Scot French, University of Central Florida
    Hélène Huet, University of Florida
    Barbara Lewis, University of South Florida
    Lillian Manzor, University of Miami
    Anastasia Salter, University of Central Florida
    Rachel Walton, Rollins College

  • 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: or by writing
  • 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 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


    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.


    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 / 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  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

  • 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
    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.
  • “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
  • 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 ( and Angela M. Person ( before September 17th 2017. Accepted manuscripts will be due by July 2018 and should be no more than 6000 words, including references and notes.
  • 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:
SAH thanks The Richard H. Driehaus Foundation Fund at The Chicago Community Foundation for its operating support.
Society of Architectural Historians
1365 N. Astor Street
Chicago, Illinois 60610
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