Recent Opportunities

  • Louis Kahn: The Power of Architecture

    Philadelphia | Dates: 21 Aug – 05 Nov, 2017
    The story of master architect Louis Kahn (1901-1974) is intrinsically connected to Philadelphia, where he spent most of his life and career. Louis Kahn: The Power of Architecture is the first major retrospective of Kahn’s work in two decades, encompassing over 200 objects related to Kahn’s buildings and projects in the form of architectural models, plans, original drawings, photographs, and films. With complex spatial compositions and a choreographic mastery of light, Kahn created buildings of archaic beauty and powerful universal symbolism. The Fabric Workshop and Museum is proud to be the final venue of the international tour.
    The Power of Architecture extensively documents all of Kahn’s important projects—from his early urban planning concepts and single-family houses to monumental late works such as the Roosevelt Memorial in New York City (1973-74), posthumously completed in October 2012. Among his most important works are the Salk Institute in La Jolla, California (1959-65), the Kimbell Art Museum in Fort Worth, Texas (1966-72), and the National Assembly Building in Dhaka, Bangladesh (1962-83). The presentation of Kahn’s architectural projects is accompanied by a selection of watercolors, pastels and charcoal drawings created during his travels, which document his skill as an artist and illustrator.
    Highlights from The Power of Architecture include previously unpublished footage shot by Nathanial Kahn, the son of Louis Kahn and the director of the film My Architect, as well as interviews with architects such as Frank Gehry, Renzo Piano, Peter Zumthor, and Sou Fujimoto that underscore the continued significance of Kahn’s work.
  • History and Theory as Methods of Ethical Engagement: The Ethical Imperative

    Denver | Dates: 12 Aug – 20 Sep, 2017
    This panel will discuss how architectural history/theory coursework responds to ethical questions. In recent decades, questions of ethical engagement in architectural practice have been situated within architectural education primarily in two realms. First, professional practice coursework asks students to “do no harm” and to use legal tools to protect themselves and their clients from conflicts of interest, liability and risk. Second, design-build and community-focused studio courses allow students to engage with public clients and disadvantaged communities. In the first instance, ethical frameworks are applied to existing models of professional practice. In the latter, faculty ask students to experiment with project types and clients currently excluded from access to professional services. While both spheres of ethical education have their own potential and limits, in this session, we are interested in a realm of architectural education in which ethical questions have received relatively little (recent) attention: history/theory coursework.

    In 1999, Sibel Bozdogan wrote of the problematic nature of Eurocentric architectural coursework. She asked two crucial questions: “How does one make architectural history less Eurocentric and more cross-cultural?” and “How does one talk about the politics of architecture without reducing architecture to politics?” The more recent work of groups like the Global Architectural History Teaching Collaborative (GAHTC) has begun to pose responses to Bozdogan’s questions. The GAHTC have pioneered methodologies and models for transnational histories that depart from east/west, first/third-world divisions. They offer resources and teaching materials for scholars hoping to trade the dominant frameworks of religion and nation-state for stories that emphasize cultural exchange and hybridization. However, efforts such as the GAHTC seek to do more than expand the architectural canon to include previously marginalized histories and geographies. It is a pedagogical project of rethinking the categories and structures through which architectural history is indexed. It uses a globalized perspective to rethink both the content and the delivery of architectural history and, in so doing, its takes aim at the profession’s understanding of itself. We are interested in how revised approaches to architectural history and theory provoke and embed ethical questions within architectural pedagogy.

    To this end, we invite papers that explore how history/theory coursework addresses questions of race, inequality and systemic exclusion. More specifically, how exactly do these courses equip students to make ethical decisions in practice? Interested authors may consider the following questions: What are the consequences of questioning what is and is not considered ‘architecture’? What range of subjects and sites, in the realm of architectural history and theory, are worthy of study? Does ethical engagement in history/theory simply imply inclusion or is a more radical transformation in framing required? How do we understand and situate history/ theory relative to other realms of architectural knowledge production? Can there be direct relationships between history/theory coursework and activist agendas? If so, how are these articulated relative to departmental, institutional and accreditation requirements? Finally, are architectural history/theory courses their own political project or strategic devices for uncovering ethical questions?

    Information on the conference (15-17 March in Denver, Colorado), submission requirements, and the online submission process can be found on the conference webpage Please email the session chairs Anna Goodman ( and Sharone Tomer ( with any questions.
  • What's Your Sign? Retail Architecture and the History of Signage Symposium

    Iowa City | Dates: 08 – 09 Sep, 2017
    The Legacies for Iowa Collections-Sharing Project at the University of Iowa Museum of Art presents a symposium considering the history of retail architecture signage.

    For as long as goods have been bought and sold, shopkeepers and traders have visually communicated their wares through signs. This breakfast symposium explores the evolution of signage from the shutter paintings of ancient Pompeii to the wooden trade signs hanging along Medieval English streets to the neon of twentieth-century American roadside signs. How have symbols of selling shifted over the centuries? How do retail signs reflect or reject broader visual cultures? What technological shifts have precipitated the most dramatic design departures? Papers may examine the iconography, typography, and materiality of retail signs as well as the cultural, financial, and geo-political forces that shaped storefront signs in the past. Papers may also contend with the future of retail sinage in an increasingly digital and global economy. This public event will be livestreamed and occurs in conjunction with the City of Iowa City Downtown District’s CoSign project, which partners local artists and craftspeople with small business to create exciting and distinctive new signs.

    Keynote Address:
    September 8, 2017
    7:00 pm–9:00 pm
    University of Iowa Art Building West
    Art Bldg West, 141 N Riverside Dr, Iowa City, IA 52246

    James Wines, founder of New York City-based architecture and environmental arts studio SITE, will deliver the keynote address for the What’s Your Sign? Symposium. A professor of advanced design studies at Pennsylvania State College of Arts and Architecture as well as a practicing architect, Wines' work focuses on aesthetic, sociological, and environmental concerns in the building arts. Author the seminal text Green Architecture, Wines is the winner of twenty-five art and architecture awards including the 2013 National Design Award for Lifetime Achievement. His projects for SITE have been honored by retrospective exhibitions in the USA, Europe, and Japan, while his drawings can be found in the collections of more than thirty-five museums worldwide.
  • Human Perception & The Built Environment (Driehaus Symposium)

    Chicago | Dates: 30 – 30 Sep, 2017
    Final Invite Symposium Large

    To register, please click on the image or visit: 

  • Past Forward: Architecture and Design at the Art Institute

    Chicago | Dates: 12 Sep – 30 Nov, 2017

    On September 12, the museum opens its new permanent collection of modern and contemporary architecture and design. Past Forward: Architecture and Design at the Art Institute is a dynamic, issue-driven installation drawn from the museum’s world-class holdings. From visionary architectural drawings and innovative industrial designs to user-generated products and speculative research, the exhibition explores the many fundamental roles of architecture and design in our history and culture.

    Integrating the architecture and design of the space into the visitor experience, these galleries present a forward-looking history of modern and contemporary practice as a living social and cultural process. The exhibition’s thematic chronology invites audiences to engage with local and global issues including war and political movements, material and technological transformations, and the effects of globalization—while challenging us to think critically about the objects, spaces, and networks that define the way we live. A serial approach to the collection's display will continually refresh the presentation and present opportunities for ongoing conversation with the general public, architecture and design enthusiasts, and experts in these fields.

    The installation design literally shifts the grid with a series of diagonal walls that play off of the orthogonal geometries of Renzo Piano’s Modern Wing. Describing the layout, Zoë Ryan, John H. Bryan Chair and Curator, Department of Architecture and Design, explains, “The design functions like an insertion in the space, creating a series of interconnected rooms that guide visitors through a series of unfolding narratives bringing together our collection.”

    The work represented in the Art Institute’s diverse collection showcases the many voices that have shaped the fields of architecture and design and continue to do so today. These include Daniel H. Burnham, Marion Mahony Griffin, Ludwig Mies van der Rohe, Charlotte Perriand, and Enzo Mari, as well as contemporary practitioners such as Stan Allen, David Adjaye, Bless, Yuri Suzuki, and Dunne and Raby. The installation explores how diverse ideologies and approaches have fostered dialogue and exchange and forever changed how we understand and interact with the built environment. As Ryan notes, “This project presents a unique opportunity to engage audiences from around the world with the histories of transformative objects, buildings, and ideas that continue to shape our daily experiences.”

    Works will be punctuated by a series of specially commissioned, immersive films designed to illuminate key issues and works from Chicago and the Midwest, as well as around the world.  The opening of the new galleries coincide with the release of As Seen: Exhibitions That Made Architecture and Design History, a collection of essays edited by Zoë Ryan that examines the impact and influence of architecture and design exhibitions held between 1956 and 2006. Providing a fresh perspective on some of the most important exhibitions of the 20th century from America, Europe, and Japan, including This Is TomorrowExpo ’70, andMassive Change, this book offers a new framework for thinking about how exhibitions can function as a transformative force in the fields of architecture and design.

    Past Forward: Architecture and Design at the Art Institute is co-curated by Zoë Ryan, John H. Bryan Chair and Curator; Alison Fisher, Harold & Margot Schiff Associate Curator; and Maite Borjabad López-Pastor, Special Projects Assistant Curator, Department of Architecture and Design.


  • Historic Gardens: Restore, Preserve or Conserve, Making Choices

    Sligo | Dates: 05 – 07 Oct, 2017
    Retaining the historic integrity of our significant heritage parks and gardens is essential in their ongoing management and conservation. This necessitates a comprehensive evaluation of their content, design and history. However, while detailed investigation into the original form of gardens and parks is an essential aid to accurate repair and renewal, it often highlights tension between preservation, reconstruction and simple enhancement. Discovering the directions to take, how and why, is the underlying theme of this year’s NIHGT conference. Accordingly, we have invited a wide range of speakers to talk about their own experiences in the conservation, rejuvenation and restoration of our historic parks and gardens.
  • Art in the Open: Fifty Years of Public Art in New York

    New York | Dates: 10 Nov – 31 Dec, 2017

    Until the 1960s, most public art in New York City was limited to war memorials, civic-minded murals, or relief sculpture embodying universal values like “Fraternity” or “Wisdom.” But the late 1960s brought a new era that embraced the individual artist’s voice and vision in the public realm. In the years since, hundreds of innovative art works, both permanent and temporary, have been installed in the public spaces of New York, making this the most robust and vibrant environment for public art in the world.

    Presented to mark the 40th anniversary of the pioneering Public Art Fund, Art in the Open highlights works that have transformed both the public spaces of the city as well as public expectation of the role and potential of art that exists outside of the traditional confines of museums and galleries. The exhibition features renderings, models, photographs, and video footage tracing the creation of public artworks by such artists as Red Grooms, Christo and Jeanne-Claude, and Kara Walker.

  • Made in York

    York | Dates: 16 Aug – 12 Nov, 2017
    These products of York’s age of Enlightenment are as rich as their impact is far-reaching. Made in York celebrates the wealth of this Georgian city’s inventive and enlightened output through the long eighteenth century (1670-1830).

    York’s pages of history are strewn with astronomers, mathematicians, horologists and zoologists through to world-class scholars, celebrated painters, sculptors, architects and cabinetmakers. This is the story of those people who made this city a crucible for enlightened thought, intellectual creativity and a centre for exquisite craftsmanship throughout the Georgian age.

    York nurtured some of the greatest names such as Grinling Gibbons, Thomas Chippendale, Laurence Sterne, John Goodricke, John Flaxman and Joseph Rose, leaders in each of their metiers. But behind these icons are some lesser-known pioneers; Made in York rediscovers their rich and eclectic legacy, and the rare objects and often forgotten triumphs that they have left for future generations.

    For the first time, this landmark exhibition will be showcased throughout the townhouse, vividly animating both Fairfax House’s beautiful period rooms and its exhibition gallery.
  • Craft: A case study - the Mackintosh Building Restoration Project The Glasgow School of Art

    Glasgow | Dates: 11 – 11 Sep, 2017

    Part of Doors Open Day. 

    Booking opens via Eventbrite on 23 August at 10am

    Places limited. Booking essential. 

    A series of talks from the craft men & women responsible for the painstaking work being undertaken to restore the world famous Mackintosh Building at The Glasgow School of Art.

    The restoration project draws on a number of highly skilled building and decorative crafts people. These talks are an opportunity to hear from the craft operatives themselves about the challenges faced to conserve, restore and rebuild the Mackintosh Building.

    The afternoon will be a fascinating tour through many of the disciplines essential to the project with presentations rich in anecdote drawn from experience on the job. Mackintosh’s relationship with practicing craftsmen underpinned the genius of his design and each talk will reveal the skills and expertise that were originally required to deliver the art school Mackintosh envisaged.

    Click here to find out more about the Mackintosh Building Restoration Project

  • Conservation Philosophy: A case study - The Mackintosh Building Restoration Project The Glasgow School of Art

    Glasgow | Dates: 11 – 11 Sep, 2017

    Part of Doors Open Day. 

    Booking opens via Eventbrite on 23 August at 10am

    Places limited. Booking essential. 

    A lecture and panel talk discussing the conservation philosophy guiding the work undertaken to conserve, restore and rebuild the Mackintosh Building, returning it to use as a working art school.

    The Mackintosh Building inhabited since its construction by The Glasgow School of Art is widely recognised as a work of art in its own right. Through its many years of use the building has developed a unique patina and undergone a number of alterations and additions.

    The recent fire and subsequent restoration raises a number of considerations concerning the integrity of the original design, the history of the building and its adaption for future use.

    This lecture and panel talk is an opportunity to discuss this ever present dichotomy facing the conservation and restoration of buildings in use drawing on the unique and precious Mackintosh Building as a case study. 

    Click here to find out more about the Mackintosh Building Restoration Project

  • Architectural Heritage Conference

    luxor | Dates: 05 – 08 Feb, 2018
    Following the success of the first international conference on “Conservation of Architectural Heritage“, the second version of the conference will take place in Luxor & Aswan, Egypt on the 5th of February, 2018 till the 8th of February, 2018. Scientific research will foster the attempt to improve the know-how in the field. Expected results include a better understanding of the problems facing architectural heritage, the development of policies favoring its conservation, the definition of practical guidelines and the organization of training and awareness activities.
  • States of Disrepair / Acts of Repair: The Ethical Imperative

    Denver | Dates: 15 Aug – 20 Sep, 2017
    All our objects, buildings, and things share the same fate: they lose their sheen as soon as they go out into the world. Yet the design disciplines and professions tend to privilege the new, idealizing the building or product as the designer intended it to be, uncompromised by the elements and the inevitable wear and tear from use and misuse.

    What if we, as designers and as citizens, paid attention to how our objects and buildings fare in the world: how they weather, patina, age, deteriorate, break down, and fall apart; how we keep them going by maintaining, servicing, adapting, and repairing them?

    What would we learn from the many acts and operations -- large and small, by-the-book and ad hoc -- of repair and of maintenance: from work-arounds, quick-fixes, and improvisations to concerted efforts to preserve, restore, and reuse? What could we learn from the labor -- the protocols, skills, ingenuity, persistence, and hard work -- involved in repair and maintenance, labor that class and vocation render invisible to most university-trained architects and professionals?

    What could we learn from instances of repair and maintenance in the past as well as in disciplines, practices, and situations beyond normative architectural practice: from roadside repair shops, online collectives, DIY home repair, and a feminist “ethics of care” to “design for remanufacturing”, “failure modes and effects analysis”, closed loop supply chains, and the struggle for “right to repair” legislation?

    Could this looking and learning inform the way we design our buildings and our environments? Could an ethos of repair and repairing contribute to the way we conceptualize and practice architecture today? Could, for example, “designing for repairability” help us acknowledge the agency of the user/owner or the contingency and entropy of what we design and specify? Could mainstream architectural discourse and practice learn from preservation, restoration, reconstruction, adaptive reuse -- topics once central to morally-charged disciplinary debates that are now specialty topics or their own disciplines?

    This session invites papers that look at how maintenance and repair figure within historical and contemporary architectural discourse and practice, as well as papers that speculate upon how they could inform it in the near future.

    In order to sponsor a rich exploration of this topic, the session welcomes a broad range of methods and approaches. For example: case studies of exemplary projects as well as vernacular and craft practices; close readings of design contracts as well as specifications for materials and assemblies; theoretical or historical analysis of approaches to repair and disrepair (Viollet-le-Duc, Morris, Ruskin, Brand, Leatherbarrow, Otero-Pailos, among others); comparative accounts of how different disciplines (anthropology, archeology, art history), allied professionals (architectural engineers, building surveyors), corporate firms, or building trades approach repair; speculative design pedagogies that problematize breakdown, maintenance, and repair . . .

    Information on the conference (15-17 March in Denver, Colorado), submission requirements, and the online submission process can be found on the conference webpage
  • Hive

    Washington | Dates: 10 Aug – 04 Sep, 2017

    The National Building Museum and Studio Gang present Hive, the latest Summer Block Party installation in the Great Hall.

    Soaring to the uppermost reaches of the Museum, Hive is built entirely of more than 2,700 wound paper tubes, a construction material that is recyclable, lightweight, and renewable. The tubes vary in size from several inches to 10 feet high and will be interlocked to create three dynamic interconnected, domed chambers. Reaching 60 feet tall, the installation’s tallest dome features an oculus over 10 feet in diameter. The tubes feature a reflective silver exterior and vivid magenta interior, creating a spectacular visual contrast with the Museum’s historic nineteenth-century interior and colossal Corinthian columns.

    Hive’s form recalls other built and natural structures such as Saarinen’s Gateway Arch in St. Louis, Brunelleschi’s Dome at the Florence Cathedral in Italy, vernacular Musgum mud huts in Cameroon, and the curvature of a spider’s web. By utilizing the catenary shape, each chamber will balance structural forces and support its own weight, while attaining a height that enables a unique acoustic signature. The tall yet intimate forms allow visitors to inhabit the installation at the ground level and to experience it from the Museum’s upper-floor balconies, providing a variety of exciting perspectives.

    Explore how a structure can modify and reflect sound, light, scale, and human interaction. Hive’s smaller chambers feature tubular instruments ranging from simple drum-like tubes to chimes suspended within the space. Each chamber has a unique acoustic properties that will affect the instruments’ tone, reverberation, and reflection as well as visitors’ perceptions. The large main chamber is topped by a soaring dome that filters the natural light of the Great Hall and creates intricate light and shadow patterns in the space. Just outside the installation, Philadelphia-based design educator Alex Gilliam’s notched cardboard Build It! Disks provide a hands-on cooperative building activity.

  • Thomas A. Kligerman: The New Shingled House

    Chicago | Dates: 07 – 07 Sep, 2017

    Thursday, September 7, 2017, 5:30 PM - 7:30 PM

    The Chicago-Midwest Chapter of the ICAA, the AIA/Chicago Area CRAN, and Pella Crafted Luxury are pleased to welcome Thomas A. Kligerman. Tom was raised in Connecticut and New Mexico, and spent years in France and England as a student. These experiences sparked his interest in the rich history of domestic architecture, gardens, and landscapes. Before co-founding Ike Kligerman Barkley, Tom worked for Robert A. M. Stern Architects and received his Bachelor of Arts from Columbia University and his Master of Architecture from Yale School of Architecture.

    He is passionate about the design process, and loves studying and creating architectural models. He serves on the boards of a number of charitable and educational institutions, including his current role as the President of the Sir John Soane’s Museum Foundation.  

    Tom will talk about the lasting appeal of the shingle style house, the work of his firm, and the cultural influences of architecture from his travels to Cuba, Italy, and beyond. After his lecture at the Pella Crafted Luxury showroom he will sign copies of his book, The New Shingled House.    

    Cost/Reservations: Free. RSVP Required. 

    Location: Pella Crafted Luxury, 222 Merchandise Mart Plaza, Suite 100, Chicago, IL
  • The Franciscans in Mexico: Five Centuries of Cultural Influence

    Washington | Dates: 13 – 14 Oct, 2017

    13-14 October 2017

    Mexican Cultural Center, Washington, DC, USA

    A Program of the Early Americas Working Group of Washington, D.C.

    Generations of scholars have studied the multi-faceted experiences of the Franciscans in Mexico and the ways in which the Franciscan order shaped New Spain and the early Mexican republic. This conference examines the range of Franciscan influence and analyzes new scholarship that focuses on the multiple discourses with which friars engaged native peoples, creole populations, the vice-regal authorities, and other actors throughout the Spanish empire.  The conference brings together junior and senior scholars to study the long Franciscan experience in Mexico on the eve of the commemoration of the quincentenary of the Spanish—and thus the Franciscan—presence in Mexico.

    The conference further honors the work of the eminent historian Fr. Francisco Morales, OFM, on the occasion of his eightieth birthday in September 2017.   Morales’s studies of the Franciscans in Mexico and his promotion of the field have encouraged the work of several generations of historians of colonial and nineteenth-century Mexico.  With this in mind, our program includes scholars whose research applies the methodologies of linguistic, social, and cultural history to the study of Nahua-Franciscan relations. Morales was one of the pioneers of this interdisciplinary approach during his years as a scholar at the Academy of American Franciscan History and in subsequent years as director of the Biblioteca Franciscana in San Pedro Cholula, Mexico (the library is housed in the Convento de San Gabriel, one of the first Franciscan churches in Mexico).

    All sessions are free of charge and open to the public.

    Keynote Speaker:  Jaime Lara, Arizona State University

    Organizers:  Thomas M. Cohen, The Catholic University of America; Jay T. Harrison, Hood College; David Rex Galindo, Max Planck Institute for European Legal History

    Contributors:  Pedro Ángeles Jiménez, Universidad Nacional Autónoma de México; Rose Marie Beebe, Santa Clara University; Steven W. Hackel, University of California, Riverside; Hilaire Kallendorf, Texas A&M University; Kristin Dutcher Mann, University of Arkansas, Little Rock; Karen Melvin, Bates College; Verónica Murillo Gallegos, Universidad Autónoma de Zacatecas; Manuel Ramos Medina, Centro de Estudios de Historia de México CARSO, Mexico City; Mathew Restall, Pennsylvania State University; Robert Senkewicz, Santa Clara University; Cecilia Sheridan, Centro de Investigaciones y Estudios Superiores en Antropología Social, Unidad Noreste, Monterrey; José Refugio de la Torre Curiel, Universidad de Guadalajara/Colegio de Jalisco; Jonathan Truitt, Central Michigan University

    Major Sponsors: Jay I. Kislak Foundation; Academy of American Franciscan History

    Institutional Sponsors:  Omohundro Institute for Early American History and Culture, College of William and Mary; Shirley Connor Hardinge Center for Global and International Studies, Hood College; Clements Center for Southwest Studies, Southern Methodist University

    Partners:  Early Americas Working Group of Washington, D.C.; Mexican Cultural Institute, Washington, D.C.; Library of Congress; National History Center

  • Romanesque Renaissance: Early Medieval Architecture as a Source for New all'antica Architecture in the 15th and 16th Centuries

    Florence | Dates: 22 – 23 Sep, 2017
    International conference
    Organized by Michael W. Kwakkelstein and Konrad Ottenheym
    Florence, 22-23 September 2017

    The revival of antique forms in 15th - and 16th -century architecture was, as is well known, above all a European phenomenon. This movement originated in Central Italy, but from the late 15th century onward, it spread to other centres in and outside of Italy. Sources of inspiration were not only the iconic Roman remains, which were catalogued in Serlio’s Book Three (1540) and Palladio’s Book Four (1570), but also local ruins and historic buildings in other parts of Europe. Some of these were of genuine antique origin (or even more ancient) others were in fact of late antique of even medieval date. For early modern humanists and artists it must have been difficult to distinguish Byzantine and Romanesque architecture from that of Roman antiquity. The scholarly concept of ‘Romanesque’ architecture and the stylistic tools enabling one to distinguish it from antique Roman architecture, date from the early 19th -century, not earlier. Traditional 20th -century art history mostly ignored buildings that were inspired by medieval sources. The present conference invites speakers to determine to what extent renaissance architecture inspired by medieval sources reflects an intellectual endeavour to produce all’antica architecture based on local sources. Questions that will be addressed include why patrons and architects preferred references to medieval sources above those antique, what did they know (or think they knew) of the history of these ancient buildings and what determined their choices?
  • Cass Gilbert: Life & Work in a Changing Region

    Saint Paul | Dates: 11 – 11 Aug, 2017
    Lecture given by SAH Member Kate Solomonson

    When Minnesota’s State Capitol opened in 1905, it was praised as the very embodiment of the triumph of civilization in the west. Recently, the building's restoration has surfaced new questions and concerns about whose histories are represented through the building and its art, and how. This makes it all the more important to turn back to the late nineteenth and early twentieth centuries to understand the conditions and values that inform the building’s design. This lecture considers these issues through the lens of the life and work of its architect, Cass Gilbert. The capitol was Gilbert’s first major public commission. How was he equipped to take on such a challenge? How did his earlier work relate to the capitol’s design? As western territories were colonized, promotional publications presented architecture--especially architect designed buildings--as both the beacon of civilization and the means and measure of its progress. The buildings Gilbert designed--from houses and churches, to commercial blocks and railroad stations, to the Capitol itself—contributed in both tangible and subtle ways to the ongoing social, cultural, economic, and political transformation of St. Paul and the Northwest. A note to Gilbertians: The lecture will include Gilbert’s first public structure, which was quite a spectacle in 1883.

    You can also see two excellent exhibitions in and near the Cass Gilbert Library: “The Life and Works of Cass Gilbert,” organized by the Cass Gilbert Society, and “Why Treaties Matter: Self-Government in the Dakota and Ojibwe Nation.”
  • The impact of war on urban landscape: transformations and resilience in European cities (15th-18th centuries)

    Rome | Dates: 29 Aug – 01 Sep, 2018
    Since the dawn of civilization cities had to deal with war effects through destruction, violence and fear. The deep change in artillery after the 14-15th centuries produced new impacts on the urban network and urban environment, far beyond architectural and technical transformations in warfare. In fact urban history, architectural history, military history and archaeology are correlated in this matter.
    Cities and their surrounding fields were affected by material destruction, which got more devastating as the caliber of firearms increased. How did cities recover after attack or war disaster, is the main question of this session. Though destruction was a condition to transform, not only these transformations faced many difficulties but also war scars could be either erased, concealed, exhibited or even simply left. We are interested in observing the traces that armed conflicts left in cities and the mechanisms that civil and military powers developed to recover from them. We aim to discuss these connections over the entire territory, in the framework of periods of conflict, in order to achieve a comparative approach encompassing several European cities, as we are interested in a transnational perspective.
    Historiography drew special attention to urban design solutions and the military engineers capacity to plan physical conditions in order to prepare a city to resist long sieges, including outworks in the surrounding areas, periodically adapted to the changes in the art of war. Yet, what really happened after military campaigns is somehow forgotten. Therefore the focus of this session will considerer both what happened in cities following the war campaigns, and how civil and military authorities proactively prepared the cities for them.

    We especially welcome papers that address (but are not necessarily limited to) the following topics:
    • methodology for the study of the scars of war in a city;
    • financial, management and design plans from city council and military institutions;
    • profile of the people in charge of the rebuilding processes, besides fortification military builders;
    • city council role in post-war cities;
    • nearby productive agricultural fields and water resources protection during war cycles;
    • comparative case-studies between regions or countries.

    Deadline for paper proposals submission: Oct 5, 2017
  • Getty Scholars Program 2018/19 on MONUMENTALITY

    Los Angeles | Dates: 09 Aug – 02 Oct, 2017

    Monumentality (Research Institute)

    The 2018/2019 academic year at the Getty Research Institute will be devoted to MONUMENTALITY. Monuments and the monumental address fundamental questions of art and architectural history such as size and scale. Applicants are encouraged to address monumentality in all of its distinct forms, as embodied by various cultures and powers throughout history. Research trajectories to consider include the role of monumentality as a tool for nation building, the subversive potential of monument making, and the monumental in buildings, sculptures, installations, murals, and even small-scale objects.
  • Getty Library Research Grants

    Los Angeles | Dates: 09 Aug – 16 Oct, 2017

    Applications for the 2018 Getty Library Research Grants are now available online at

    The deadline to apply is October 16, 2017.

    Getty Library Research Grants provide partial, short-term support to researchers of all nationalities whose projects demonstrate a compelling need to use Getty Research Institute materials, and whose place of residence is more than 80 miles from the Getty Center in Los Angeles.

    Please contact GRI Library Reference with any questions:

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