Applications are invited for a PhD in Architecture degree, with a start date of February 2017 and with UK/EU fees paid.
PhD in Architecture
The PhD programme in Architecture addresses the critical role of the discipline in its different aspects, from the theoretical to the political, from the formal to the representational.
The programme benefits from the cross-disciplinary research expertise of the School of Art, Architecture and Design, which offer a unique environment for integrating research across a range of areas covering culture, creativity, design, sustainability and digital domains. It pursues advanced research in Architecture in its different forms – academic writing, architectural design and practice – and subjects: history, theory, criticism, design and urbanism.
PhD candidates develop their individual research under the guidance of two supervisors, and are supported by a series of research seminars and presentations of their work both within and outside the school.
Students are encouraged and prepared to
Applicants are asked to complete the research student application form and provide a research proposal. The proposal should be up to a maximum of four A4 pages in length (with references as an addition to the 4 page proposal) using type Arial 12 point.
The criteria listed below will be used to select the most suitable person for the studentship:
Qualifications, expertise and experience relevant to undertaking study for a PhD
Knowledge of the subject area that will ensure the development of a focused line of enquiry
Knowledge and understanding of research methods appropriate to undertaking a PhD in Architecture
Clarity on the original contribution that the completed PhD will make to the body of knowledge
Scale and scope of the proposed research in terms of delivery within the timeframe of the award
Closing date for applications midnight, 31 October 2016 for a February 2017 start present their work in conferences and symposia, and to produce texts and projects for publication during the course of their studies.
Teaching opportunities are available within the Architecture programme, enabling PhD candidates to develop their own experience in education and prepare for an academic career.
AA XX 100 is the project to commemorate the centenary of women’s admission to the Architectural Association School of Architecture in London in 1917. To date it has comprised a raft of complementary enterprises including an annual lecture series and an ongoing programme to conduct filmed interviews with AA alumnae. The project culminates in autumn 2017 with an exhibition (6th October – 5th November 2017), a book (Breaking the Mould: AA Women in Architecture 1917-2017) and an international conference (AA Women and Architecture in Context 1917-2017) convened in collaboration with the Paul Mellon Centre for Studies in British Art.
We now announce the Call for Papers for the conference, which will take place between 2nd and 4th November 2017 at the AA and the Paul Mellon Centre in Bedford Square, London, W.C.1.
We invite researchers and architects to submit proposals for 20-minute papers in response to the themes listed below. Submissions are encouraged from people at all stages of their careers, and papers should be understood as not confined purely to the AA as subject matter but equally to the wider context of women and architecture across the centenary period. Likewise the themes are not prescriptive and proposals that fall outside them will be considered equally.
Collaborations, Collectives, Couples:
What communal forms of practice did women graduates of architecture take? What were the motivations for this? How do practices operating in this format compare to those with a single, and often starchitect, figurehead?
Education & Educators:
How is the history of architectural education interwoven with women’s entry to the profession? Were there particular schools (in addition to the AA) that facilitated women’s training? Were particular educators of influence on women’s education or women tutors whose work should be celebrated? How do education and strong role models impact on a woman’s trajectory beyond education into the world of practice?
Difference, Diversity, Discrimination:
The profession in the UK is still largely white, middle-class and male; has this always been the case? Are there are countries where a different scenario prevails? How might practice and history be re-worked to disrupt this ‘norm?
The future of gender:
Are there new models for practice emerging in the 21st century? How do emerging ideas such as the non-binary, gender fluid relate to practice today and into the future? What is the change that we would like to see in the profession going forward in terms of equality, new forms of practice and identity?
People, Projects, Places:
Are there particular practitioners whose work is worthy of reappraisal? Are there particularly significant projects, which were directed by women practitioners? Or commissioned by significant women as clients? Were and are there particular arena which have facilitated women’s practice as architects, historians (or related fields).
In addition, proposals are invited for posters which will be displayed at the Paul Mellon Centre for the duration of the conference. The theme for these is ‘solutions.’ What solutions do you propose that could enhance the future of women in architecture (practice and history).
Paper proposals should be 300 words in length; please include contact details, affiliation and a brief CV.
Proposals should be for an A3 poster, outlining its topic and theme in a description of up to 250 words; please include contact details, affiliation and a brief CV.
Both should be emailed to: AAXX100conference@aaschool.ac.uk
Deadline: 12 December 2016.
Successful applicants will be notified no later than January 2017.
Speakers are expected to cover their own costs for travel and accommodation but will have free entry to the conference.
The SAHGB Annual Symposium 2017 will be held in London on June 3rd, 2017, the weekend before SAH Glasgow.
Two deaths and two conferences prompt this symposium. The deaths were those of two of the greatest English architectural historians of the twentieth century, Howard Colvin in 2007 and Ronald Brunskill in 2015; the conferences were both in 2011, one the SAHGB Symposium, ‘Architecture after Colvin’, the other the Liverpool University ‘New Light on Vernacular Architecture’.
At ‘Architecture after Colvin’, Professor Andrew Saint looked at the problem of ‘by’ and argued persuasively that concentration on attributions of buildings to particular architects could be a hindrance to architectural history. For some years the old idea of the polite threshold, dividing the architect-designed sheep from the vernacular goats, has been falling out of favour, although we still have an SAHGB and a VAG, an SAH and a VAF. The New Light conference showed the breadth of international scholarship on modern vernaculars.
But has ‘by’ been the main thing continuing to divide polite and vernacular? If it is rejected as the primary way of making sense of the built environment, where does this leave traditional architectural history?
This Symposium invites papers which may look at those and the following questions, either in general terms or through studies specific in time, place or building type:
• Is there still any value in a division (theoretical or methodological) between ‘polite’ and ‘vernacular’? Can the methodology and practice of one ‘side’ be used equally well by the other?
• Is the real divide between on the one hand the study of a building or area over the long term, and on the other the study purely of an initial design?
• Should we follow Saint in moving on from ‘by’, or is it still a valuable approach even with quotidian buildings?
• Is the way forward the notion of how a building has been inhabited and lived in (like the archaeological concept of artefact biography), or should we be looking at space (within buildings or around and between them)?
• Is there any reason to study a building differently from any other manifestation of material culture?
• How can we adopt a narrative and way of working which applies not just to Britain, Europe and the United States, but also to Asia and the Global South?
Proposals of no more than 300 words for papers of twenty minutes should be sent to the organiser, Jonathan Kewley, at email@example.com by 30th November 2016, and notices of acceptance or rejection will be sent out as soon as possible after that. Papers should present original research containing material not already presented apart from to a small local audience. Speakers will be asked to submit draft papers by 30th April 2017. It is the expectation of the Society that speakers will be able to obtain independent financial support for their travel and accommodation.
It is intended to publish suitable papers.
A two-day symposium, funded by the Getty Foundation “Keeping it Modern” Program and the Mahnaz Ispahani Bartos Fund of Wellesley College, will explore the history and preservation of mid-century modern buildings. With a focus on Wellesley College’s Jewett Arts Center by Paul Rudlolph, internationally-known experts in architectural history, historic preservation, music, and landscape history will examine the cultural contexts, design strategies, and future uses of historic modern buildings on American college and university campuses.
For more information on the symposium and to register: http://www.wellesley.edu/art
Friday, October 21st
Jewett Auditorium, Wellesley College
5:30 pm Introduction & Welcome – Alice Friedman, Grace Slack McNeil Professor of American Art, Wellesley College
“Somewhere between History and Current Events: Conserving Modern Heritage”
Susan Macdonald, Head of Field Projects and Director, Conserving Modern Architecture Initiative, Getty Conservation Institute, Los Angeles, CA
7:00 pm Reception
Saturday, October 22nd
Collins Cinema, Wellesley College
9:00-11:00 am Session 1: Jewett in the Context of Conserving Modern Architecture
Chair – David Fixler, FAIA, LEED AP, EYP Architecture and Engineering, Boston, MA
“Conserving the Legacy of Two Modern Masters; Mies and Wright”
T. Gunny Harboe, FAIA, Harboe Architects, Chicago, IL
“Reworking an Adversarial Architecture: Sert and Rudolph”
Henry Moss, AIA, LEED AP, Bruner/Cott Architects, Boston, MA
“Updating the Jewett Vision: The Arts Reintegrated at Wellesley”
Steve Kieran, FAIA, LEED AP BD+C, Kieran Timberlake, Philadelphia, PA
“Guiding Change: A Conservation Plan for Jewett”
Priya Jain, AIA, NCARB, LEED AP BD+C, EYP Architecture and Engineering, Boston, MA
11:15-1:00 Session 2: Cultural Context: A Synthesis of the Arts
Chair – Martin Brody, Catherine Mills Davis Professor of Music, Wellesley College
“'Architecture is….’ or Kahn meets Anni and Josef Albers”
Eeva-Liisa Pelkonen, Associate Professor, Yale School of Architecture, New Haven, CT
“Artistic synthesis in Latin America: the case of the campus of the Ciudad Universitaria, Caracas, Venezuela.”
Valerie Fraser, Professor, Art History Department, University of Essex
“Gesamtkunstwerk Redefined: Ono in Opera, 1961"
Brigid Cohen, Assistant Professor of Music, New York University, NY
1:00-2:15 Lunch (on your own)
2:15-4:30 Session 3: The Mid-Century Campus
Chair – Timothy Rohan, Associate Professor, Department of the History of Art and Architecture, University of Massachusetts, Amherst
“Beyond the Red Trilogy: James Stirling and the Mid-Century Campus”
Amanda Reeser Lawrence, Associate Professor, Northeastern School of Architecture, Boston
“Dorms on the Rise: Residence Halls and the Modernist College Campus”
Carla Yanni, Professor, Department of Art History, Rutgers University
“Roche and Dinkeloo’s Center for the Arts at Wesleyan University: Classical, Vernacular, and Modernist Architecture in the 1960s”
Joseph Siry, Kenan Professor of the Humanities, Department of Art & Art History, Wesleyan University
“The Fine Arts Center, University of Massachusetts, Amherst: Kevin Roche’s ‘Sun Machine’”
Meg Vickery, Lecturer, Department of the History of Art and Architecture, University of Massachusetts, Amherst
Learn about one of America's most important architectural styles and see how it was applied in Portland.
The Vernacular Architecture Forum
Call for Nominations: 2017 Abbott Lowell Cummings Book Prize
Due December 15, 2016
The Abbott Lowell Cummings Prize, named after the founding president of the Vernacular Architecture Forum, is awarded annually to the publication that has made the most significant contribution to the study of vernacular architecture and cultural landscapes. In judging the nominated books, the jurors look for a publication that is:
- based on primary research,
- emphasizes fieldwork that takes seriously the materiality of architecture and landscapes, and draws on particular elements of environments as evidence.
- breaks new ground in interpretation or methodology, and
- contributes generally to the intellectual vitality of vernacular studies in North America
Entries may come from any discipline concerned with vernacular architecture studies. Books published from January 2015 through December 2016 are eligible for consideration. Edited collections of previously published materials are not eligible.
The deadline for the 2017 Cummings Prize is December 15, 2016.
There is no application form, but a cover letter should include a complete mailing address, phone number and email address in order to notify the candidate should the nominated work receive the award.
Books should be sent directly to each of the three committee members for the Cummings Prize. Please contact the committee chair with any questions at cummingsprize (at) vafweb.org.
2017 Cummings Prize committee:
Ryan Smith, chair
Department of History
Virginia Commonwealth University
811 S. Cathedral Place
Richmond, VA 23284-9105
School of Architecture
815 Sherbrooke St. West
Montreal, QC, Canada H3A 0C2
*To avoid customs charges for the book recipients, please ensure the shippers pay all duties and taxes. The parcels must arrive Delivered Duty Paid (DDP).
Department of History
University of Pennsylvania
1 College Hall, Room 208
Philadelphia, PA 19104-6379
More information is available at: http://www.vafweb.org/Cummings-Prize
43rd ANNUAL HOUSE TOUR
The Historic Pullman Foundation and the Pullman Civic Organization will host their 43rd Annual House Tour on Saturday, October 8 and Sunday, October 9, 2016. The tour will feature a glimpse into eight private homes in the Historic Pullman District of Chicago. A cross-section of different housing types including executive homes, skilled craftsman homes and workers cottages will be featured allowing visitors to see how these privately owned homes have been renovated and restored by the owners.
Built in the 1880's, these landmark homes are a unique part of Chicago's history. The Pullman Historic District contains nearly 1,000 of the original residential structures of the town and many significant public buildings -- all designed by the then 26-year old Solon S. Beman between 1880 and 1893. The Pullman Historic District, a City, State and National Historic Landmark since 1972, is a peerless example of an industrial planned community. Today, enthusiastic residents of this vibrant area are involved with the preservation of the District and its heritage.
The Pullman House Tour will begin at the Pullman National Monument Visitor Center, 11141 South Cottage Grove Avenue, Chicago, where visitors can view exhibits on the Town of Pullman and a 20-minute introductory video that will be shown every half hour. The self-guided tour will feature seven Pullman residences and the Greenstone Church -- all open for viewing from 11 am to 5 pm. In addition, while at the Visitor Center, guests will enjoy the opportunity to view all of the creative House Tour posters -- some now very collectible -- from the past 42 years.
Musical entertainment on Saturday, Harmonica Jimmy’s Blues Band featuring Mississippi Jerry Jones will play “Under the Arches” around Market Hall., Q Kiser will entertain us with his Quambo on the Arcade Park Bandstand, Sunday, the Arcade Park Bandstand will feature the Mudcats Dixieland Band. Additionally, classic cars will be on display Sunday.
Pullman was built by rail car magnate George M. Pullman as a planned community of homes, shops, schools, recreational facilities and industry in the form of his Pullman Palace Car Company -- famous for its elegant sleeping cars. Built for workers to escape the dangers of the city's industrial workplace, Pullman provided a clean, safe and aesthetically pleasing environment for his workers to live and work. In return, Pullman could recruit the best craftsmen from around the world to live in what was billed as 'The World's Most Perfect Town." Today, Pullman is a diverse neighborhood on Chicago's far south side, with a community that is focused on the area's preservation.
House Tour tickets may be purchased for $20 in advance through 5:00 PM October 6th Online: www.pullmanhousetour2016.brownpapertickets.com; by phone at 773-785-8901, or $23 at the door on the days of the event. All proceeds from ticket sales benefit restoration projects in Pullman.
Pullman is located four blocks west of I-94 (Calumet/Bishop Ford Expressway) at exit 66A (111th Street). The Visitor Center is located at the corner of 112th street and Cottage Grove Avenue. Pullman is also accessible by the Metra Electric commuter rail line at the 111th Street/Pullman or the 115th Street/Kensington station, and the CTA bus line #111/Pullman. For more information, call 773-785-8901 or visit www.pullmanil.org.
To mark the 50th anniversary of the publication of Robert Venturi’s "Complexity and Contradiction in Architecture" (1966), The Museum of Modern Art and the University of Pennsylvania have co-organized a three-day symposium bringing together international scholars and architects to discuss the significance and enduring impact of this remarkable book, published by MoMA 50 years ago.
The symposium will take place in both New York and Philadelphia. Programs on November 10 and 11 will be held at The Museum of Modern Art. Programs on November 12 will be held at the Philadelphia Museum of Art and Architectural Archives of the University of Pennsylvania. See the full schedule below or at the event website.
All programs are free and open to the public, with the exception of the bus tour, for which a limited number of tickets will be sold, and the closing reception and conversation with Denise Scott Brown, for which seating is limited. To register for those two events, contact ccaatfifty [at] gmail.com.
Thursday, November 10
Celeste Bartos Theater, The Museum of Modern Art
David De Long, University of Pennsylvania (moderator)
Kersten Geers, Office Kersten Geers David Van Severen, Brussels
Sam Jacob, Sam Jacob Studio, London
Momoyo Kaijima, Atelier Bow-Wow, Tokyo
Stephen Kieran, KieranTimberlake, Philadelphia
James Timberlake, KieranTimberlake, Philadelphia
Michael Meredith, MOS Architects, New York
Friday, November 11
Session 1: Post Modernism
10:00 a.m.–12:30 p.m.
Celeste Bartos Theater, The Museum of Modern Art
David Brownlee, University of Pennsylvania (moderator)
Stanislaus von Moos, University of Zurich: “CCA or: Architecture as Perception”
Joan Ockman, University of Pennsylvania: “The Idea of Complexity circa 1966”
Andrew Leach, University of Sydney: “Dilemmas without Solutions”
Emmanuel Petit, independent scholar: “Complexity, Figure, Architecture”
Session 2: Creative Contexts
Celeste Bartos Theater, The Museum of Modern Art
Alice Friedman, Wellesley College (moderator)
Martino Stierli, The Museum of Modern Art: “Robert Venturi and MoMA; Institutionalist and Outsider”
Mary McLeod, Columbia University: “Venturi’s Acknowledgements: The Complexities of Influence”
Pier Paolo Tamburelli, Baukuh, Milan: “Book of Pictures, Book of Books. Gentle Manifesto, Rough Manifesto.”
Saturday, November 12
Session 3: Making the Book
10:00 a.m.–12:30 p.m.
Van Pelt Auditorium, Philadelphia Museum of Art
Kathryn Hiesinger, Philadelphia Museum of Art (moderator)
Lee Ann Custer, University of Pennsylvania: “Teaching Complexity and Contradiction: Robert Venturi’s Lecture Course ‘Theories of Architecture,’ 1961–1965”
Christine Gorby, Pennsylvania State University: “Manuscripts into Manifesto: The Evolution of Robert Venturi’s 1966 'Complexity and Contradiction in Architecture'”
Deborah Fausch, independent scholar: “Comparative Method in the Visual and Verbal Organization of Complexity and Contradiction”
Enrique Walker, Columbia University: “The ‘Difficult Whole’ [and the ‘Decorated Shed’]”
Bus Tour: The ‘Philadelphia School’
Tour departs from the Philadelphia Museum of Art
Includes Robert Venturi’s Vanna Venturi House and Louis Kahn’s Margaret Esherick House, with commentary by William Whitaker, University of Pennsylvania, and Alice Friedman, Wellesley College. Cost of $45 includes box lunch. To register, contact ccaatfifty [at] gmail.com.
(As a free alternative, self-guided walking tours of the ‘Philadelphia School’ on the Penn campus and in Center City will be available. Attendees may also visit the exhibition “Back Matter: The Making of Robert Venturi’s Complexity and Contradiction in Architecture,” at the Architectural Archives of the University of Pennsylvania.)
Conversation with Denise Scott Brown, Exhibition Viewing of “Back Matter: The Making of Robert Venturi’s 'Complexity and Contradiction in Architecture',” and Closing Reception
Architectural Archives of the University of Pennsylvania
To register, contact ccaatfifty [at] gmail.com
Organized by Martino Stierli, the Philip Johnson Chief Curator of Architecture and Design, The Museum of Modern Art; and David Brownlee, the Shapiro-Weitzenhoffer Professor of the History of Art, University of Pennsylvania.
This event is made possible through the generous support of Elise Jaffe + Jeffrey Brown.
Additional support is provided by the Keith L. and Katherine Sachs Program in Contemporary Art, University of Pennsylvania; the Office of the Dean of the School of Arts and Sciences, University Pennsylvania; and the University Research Foundation, University of Pennsylvania.
Celebrate preservation at the Architectural Heritage Center's most important fundraiser of the year! Enjoy an inspiring evening of support for local heritage education and advocacy by bidding on specially-donated items. You’ll find heirlooms, artwork and jewelry, building preservation services, kitsch and collectibles, and unique dining and travel experiences with a vintage flair. Top off your dinner by bidding on a specialty dessert, and don’t forget the raffle tickets!
For tickets and more information visit: http://visitahc.org/
Marion Mahony Griffin (1871-1961) was one of America’s first female architects, a Chicagoan also known as a skilled artist, environmentalist, and community activist. A central contributor to the Prairie School of Architecture, her drawings of the Unity Temple and many other projects introduced Frank Lloyd Wright’s early work to the world. Mahony Griffin was the first woman architect registered in Illinois who became a pioneer in architecture and community planning. A key member of Wright’s Oak Park Studio for 15 years, she and husband Walter Burley Griffin won the international design competition for Canberra, Australia’s national capital. This exhibition traces her early life, her personal and professional partnership with Griffin on three continents, the final years of her life in Chicago—and sheds light on the work and legacy of a Chicagoan of immense but often overlooked importance.
Location: Elmhurst History Museum, 120 E. Park Ave., Elmhurst
Hours: Sun., Tues.-Fri., 1-5 p.m.; Sat. 10 a.m.-5 p.m.
More info: elmhursthistory.org or 630-833-1457
WORKSHOP organized by Prof. Michelangelo Sabatino with PhD Candidates Saad Alghamdi and Mohammed Alkhabbaz
PhD Program in Architecture
College of Architecture
Illinois Institute of Technology
How can we define an image?
Not an easy task, since it has a variety of meanings depending on the context in which we are operating. It could refer to a physical/digital representation - a drawing, a photograph, a computer-generated image - or a more subtle mental image, either reflective of the past or imaginative of the future.
What is certain is that nowadays our knowledge of the built form and our creativity as architects is heavily based on images. How many buildings do we think we know due to indirect sources? Do we prioritise the image before the experience of a direct visit? Perhaps it is timely to discuss the impact of the image alongside the ‘real’ architecture itself.
In an informal setting and in dialogue with experienced and imaginative guests, The Colin Rowe Lectures aim to discuss the role of the image in architecture, particularly the crucial role of architectural photography. The occasions will allow invited experts and emerging scholars/practitioners to share their thoughts. The inaugural lecturer will be the acclaimed photographer and scholar Richard Pare.
If you would like to be considered for the emerging scholar/practitioner category please e-mail firstname.lastname@example.org or email@example.com with your personal interpretation of the ‘image of architecture’ via a photograph, a piece of writing, a collage, etc.
The format must not exceed A4 for an artwork or 500 words for a written text and should be accompanied by a short biography of no more than 250 words, describing your interest in the subject. To formulate your proposal, you can reinterpret/reuse iconic images of architecture, explore the rich collection available at ribapix.com (at this stage through the low resolution resources offered on the link) or produce a new photograph. In the case that the artwork it is not a written text, a short caption is mandatory. Applicants at any stage of their career will be considered.
The deadline for the submission is Monday 31 October 2016, 5PM GMT. The winner will be announced at the lecture on the 8th of November and invited to discuss the topic at the RIBA in May.
Colin Rowe was a graduate and later an influential lecturer at the Liverpool School of Architecture, where he mentored James Stirling. He analysed the iconography of architecture in seminal texts such as 'The Mathematics of the Ideal Villa' (1947), 'Transparency' (1963) and 'The Architecture of Good Intentions' (1994).
Forum convened by Marco Iuliano (University of Liverpool) and Valeria Carullo (RIBA).
Join Adrian Smith + Gordon Gill Architecture’s Adrian Smith, Gordon Gill, And Robert Forest for “AS+GG at Ten,” a presentation celebrating their past and present projects on October 4th at the Preston Bradley Hall at the Chicago Cultural Center from 6-8 pm in Chicago, Illinois
The third annual SarasotaMOD Weekend is presented by the Sarasota Architectural Foundation (SAF) in partnership with the Sarasota Museum of Art, a division of Ringling Collebe of Art + Deisgn. This year, the midcentury architecture festival focuses on architect Victor Lundy's legacy, featuring tours, parties, film screening and presentations with special guest speakers Joan Brierton, Christopner Donmin, Donna Kacmar, C. ford peatross and Frank Folsom Smith.
Child of the Sun, Great American Campus by Mark Tlachac, Retired Director of the Frank Lloyd Wright Visitor's Center, Floridan Southern College, Lakeland, FL and
Frank Lloyd Wright and Kenneth Laurent: One man's vision to better another man's life by Jerry Heinzeroth, President, Laurent House Foundation, Rockford, IL
Sponsored by: Friends of Cedar Rock
on Saturday, October 15, 2016, 1-4PM
The International Dissertation Research Fellowship (IDRF) Program supports the next generation of scholars in the humanities and humanistic social sciences pursuing research that advances knowledge about non-US cultures and societies. Since its inception in 1997, the IDRF program has funded more than eleven hundred projects, with research spanning the globe. The IDRF program is funded by the Andrew W. Mellon Foundation.
Two themes stand out prominently in discussions, projects and strategies that are at the forefront of contemporary urbanisation. It is, on one hand, the question of ecology, where the city and architecture are reconceptualised in "green" terms such as sustainability, resilience, metabolic optimisation and energy efficiency. On the other hand is the cybernetic question, where the futures of architecture and urbanisation are staked upon the pervasive use of digital communication, interactive technologies, ubiquitous computing, and the "big data". Moreover, these two questions have become increasingly intertwined as two facets of a single environmental question: while real-time adjustments, behaviour optimisation and "smart" solutions are central to urban environmental agenda, the omnipresent network of perpetually interacting digital objects constitutes itself a qualitatively new environment within which urban citizens are enfolded. But as digital networks become our "second nature," we also hark back to the models derived from the "first nature".
With the growing pressure on architects, urbanists and planners to deliver ecological and techno-informational solutions, with (self-)monitoring of citizens "behaviour", optimisation of the buildings "performance", and smoothing of urban "flows", and with the respective substitution of democratic politics by automated governance models, it is ever more important to interrogate the historical, theoretical, methodological and epistemological assumptions beneath the above set of processes that can be described, following Michel Foucault, as environmental governmentality. These questions will be explored under three thematic tracks.
Application deadline: Oct 24, 2016
Junior and Senior Fellowships from October 2017 to September 2018
The Morphomata Center for Advanced Studies in the Humanities at the University of Cologne is pleased to invite applications for fellowships for the academic year 2017/18. The fellowships are awarded to scholars working within the Humanities (“Geisteswis-senschaften”), in the field of portraiture/life imaging and/or biography/life writing. The focus of this year’s call for applications lies on the topic of portraiture.
Morphomata especially invites projects from international scholars, with a cross-cultural approach. Fellowships are granted for a period of
6 to 9 months. Fellows must be in residence in Cologne during the fellowship period. The latter must include the months of October through February and/or April through July.
Morphomata is a member of the “Käte Hamburger Kollegs,” a collective of Centers for Advanced Studies in the Humanities, funded by the German Federal Ministry of Educa-tion and Research. The Center’s Fellows are part of a community of scholars that ex-plores manifestations of knowledge production in texts and material artifacts in cross-cultural and interdisciplinary perspectives. Case studies are at the core of the Center’s research.
Fellows will be provided with office space including work facilities and will participate in the academic life of both the Center and the University of Cologne. Detailed information on financial, contractual, and logistical matters can be found here:
To be eligible for a Morphomata Fellowship, the candidate must have the status of at least assistant professor (or equivalent) and a strong research record in portraiture and /or biography/life writing. Scholars with particular interest in the theory of the for-mation, dynamics, and mediality of cultural figurations are also invited to apply. Fellows are required to participate actively in the interdisciplinary and intercultural life of the Center and the University of Cologne.
Morphomata Fellows are expected to participate in weekly events at the Center.
Applicants are required to provide the following documents:
– a cover letter of one or two pages that indicates the preferred time slot for the fellow-ship – a curriculum vitae – a list of publications – a title and proposal for a research project (maximum 2000 words) addressing the Center’s research focus on "Portraiture and Biography as Figurations of the Particular" or the theoretical framework of Morphomata – a summary of maximum 200 words that clearly indicates to readers from other disciplines where the special significance of the project lies – applications in German must be supplemented with an English title and summary
Applications should be submitted to: martin.roussel(at)uni-koeln.de The deadline for applications is October 24th 2016.
The criteria for the selection process are based on the academic qualifications of the applicants and the originality of their research aims. The selection will be made by the advisory board during its meeting in January/February 2017.
If you have any questions, please contact:
Deadline: Jan 31, 2017
CALL FOR PAPERS
International Journal of Islamic Architecture (IJIA)
Special Issue on Installing Islamic Art: Interior Space and Temporal Imagination
Thematic volume planned for Summer 2018
Proposal submission deadline: 31 January 2017
With the establishment of new cultural institutions in the Middle East and Africa, major Islamic art collections have relocated across the globe during the past decade. A number of Euro-American museums, too, have embarked on remodelling their decades-old gallery configurations for presenting material remains from the Muslim-majority societies of the Arab lands, Iran, Turkey and South Asia and have continuously sought compromised, if not ideal, display modes. On the other hand, such efforts have revitalised the following contentious debates concerning the display genre of “Islamic art”: to what extent fragmental archaeological finds, restored objects and detached manuscript painting pages can be installed as the unified image of Muslim civilisation within a self-contained space; how such decontextualised objects might speak for themselves; and how they reflect current politics of representation in the midst of global transformations.
The installation of Islamic art has gone through a series of vigorous changes over the centuries. As a display genre, nineteenth-century Orientalist fantasies articulated at world’s fairs served to define static, timeless images of the “Orient” for popular consumption and formed the basis of exhibitory concepts in which the world of Islam ought to be represented in the Euro-American museums during the first half of the twentieth century. In recent years, however, a number of cultural institutions worldwide, particularly those with the adjective “Islamic” in their names, began to be involved in a growing sociological and historical debate as to the function and meaning of the display of Islamic art. It has been increasingly argued that both public and private museums should be designed to offer opportunities for wide public engagement for a better understanding of Muslim civilisation.
What remains to be considered within these larger debates, however, is the design of Islamic art installations itself?the interior space as a three-dimensional, mixed-media construction or as an architecturally unified space (different from the display of separate sculpture or other individual art works). While these topics have been well explored in other fields, the display of Islamic art installation as a form of visual and spatial expression on its own terms remains largely understudied. A number of potential topics surrounding Islamic art galleries and their exhibitions can be proposed, such as the interactivity of its space, as well as its commitments to the needs of non-specialist visitors, and the question of self-expression on the part of curators and exhibition designers.
This special issue invites papers that explore the history, culture and politics of the interior space in the field of Islamic art and architecture from the eighteenth century to the present, as well as to those that extend discussion into the future. Preference is given to topics dealing with global trends, covering a wide area of the Middle East, Africa, Asia, Europe, North and South America, but new approaches to the installation of Islamic art in well-established Euro-American museums would be welcome as well.
Themes may include, but are not limited to, the following:
1) The relationship between internal space and the permanent
galleries that this space holds—how does the container itself shapes what “Islamic art” means to the viewer?
2) What are the representational politics at stake in preparing
temporary exhibitions (within standing museum buildings or mobile architectural environments such as biennales) dedicated to the presentation of Muslim cultures and societies—relationships between objects, their textual commentary, spatial layout and design, as well as modes of display?
3) What are some of the dominant theoretical or methodological
debates (e.g., modernity vs. revivalism, secularisation vs.
spiritualisation, neo-Orientalism vs. neo-Occidentalism) that have animated discussions concerning galleries and their display in general, and specifically in relationship to “Islamic art”?
4) How can “Muslim civilisational” agendas be represented in the
contexts of ethnographical, archaeological or fine art museums?
5) What kind of organisational layout was in the past popular or is
currently dominant in the display mode of Islamic art (chronologically, geographically, thematically or according to types of objects—e.g.
ceramics, metalwork, textiles, manuscript painting), and what were/are the advantages or disadvantages of each layout?
6) What are the roles of architectural models, reconstructions or
replicas in museum installations, and how are they integrated into the image-making of Islamic art and architecture in exhibitory contexts?
7) What are the voices of curators and exhibition designers, and how
are they reflected (or suppressed) in the design of Islamic art galleries?
8) What are possibilities for the display of Islamic art without
objects through digital interfaces and remote connection?
9) How can and should the display genre of “Islamic art” evolve in
the future as increasing pressure is placed on the need to represent the religion to a global public?
10) What are new trends in museum architecture, with special
reference to its gallery space or/and the relationship between the exterior and the interior, and in particular those spectacular buildings that are designed by leading architects and interior designers, and their ability (or limits) to convey messages about the nature of Islamic art and/or Muslim civilisation?
Essays that focus on historical and theoretical analysis (DiT papers) should have a minimum of 5,000 words but not more than 8,000 words, and essays on design (DiP papers in the context of this special issue would ideally come from participants in curating museum spaces or developing theoretical models for assessing the impact of museum space/design and layout on visitors) can range from 3,000 to 4,000 words.
Contributions from scholars of Islamic art and architectural history, scholars of museum studies, anthropology, ethnography, archaeology, sociology and political theory in the broadest sense, as well as critics of exhibition history and design are welcome. Contributions from practitioners who have experienced with the designing of art exhibitions and galleries (with Islamic or non-Islamic themes) or who wish to propose a new installation scheme are particularly welcome, and should bear in mind the critical framework of the journal.
Please send a 400-word abstract with the essay title to the guest editor, Dr Yuka Kadoi (firstname.lastname@example.org), by 31 January 2017. Those whose proposals are accepted will be contacted soon thereafter and requested to submit full papers to the journal by 30 June 2017. All papers will undergo full peer review.
For author instructions regarding paper guidelines, please consult:
The Graham Foundation is now accepting applications for the 2017 Carter Manny Award, the foundation's annual award for Ph.D. students working on dissertation topics in architecture. Applications are due November 15, 2016.
Established in 1996, the Carter Manny Award supports dissertation research and writing by promising scholars whose projects have architecture as their primary focus and the potential to shape architectural discourse.
Two Carter Manny Awards are given each year, one for dissertation writing and one for dissertation research. Doctoral candidates must be officially enrolled in schools in the U.S. and Canada and nominated by their department in order to apply. To learn more about award eligibility and to access the application, see the award guidelines here.
2017 CARTER MANNY AWARD
Application deadline: November 15, 2016
Award decision: April 2017
Award period: The one-year award period begins between June 1 and September 1, 2017 for the 2017–18 academic year