Recent Opportunities

  • The Colin Rowe Lecture Series - Call for Entries

    London | Dates: 24 Sep – 31 Oct, 2016
    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 or 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 (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).
  • AS+GG at 10

    Chicago | Dates: 04 – 04 Oct, 2016
    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
  • SarasotaMOD Week[end] 2016

    Sarasota | Dates: 11 – 13 Nov, 2016
    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.
  • An Afternoon with Frank Lloyd Wright

    Quasqueton | Dates: 15 – 15 Oct, 2016
    Two Talks: 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 tickets: $10.00 Reservations: 319-934-3572
  • SSRC International Dissertation Research Fellowship

    Dates: 23 Sep – 01 Nov, 2016
    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.
  • CFP: The Politics of Environments: Architectures, Natures and Data (Tallinn, 20-23 Apr 17)

    Tallinn | Dates: 23 Sep – 01 Nov, 2016
    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.
  • Morphomata Fellowship Program 2017/18

    Cologne | Dates: 23 Sep – 24 Oct, 2016
    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.

    The Center
    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.

    The Fellowships
    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) The deadline for applications is October 24th 2016.

    Selection Process
    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: 
  • CFP: Installing Islamic Art: Interior Space and Temporal Imagination (IJIA)

    Dates: 23 Sep, 2016 – 31 Jan, 2017
    Deadline: Jan 31, 2017

    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 (, 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:
  • 2017 Carter Manny Award

    Dates: 23 Sep – 15 Nov, 2016
    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. 

    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
  • CFP: Historical Modernisms (London, 12 Dec 16)

    London | Dates: 22 – 30 Sep, 2016
    London - School of Advanced Study,  Institute of English Studies, University of London, Senate House, December 12, 2016
    Deadline: Sep 30, 2016

    Counter to the conventional perception of modernism as ahistorical, there have been recent academic and critical efforts to historicize it. 
    The Historical Modernism Symposium seeks to contribute to this trend by inviting readings of modern/ist literature and avant-garde art movements in the historical contexts of their production and reception, while assessing their entanglement with history and modernity transnationally.
    The symposium aims to look at the history of modernism and the avant-gardes in relation to and their place in (literary and art) History, addressing questions of their relation with modern times, raised, for example, by colonialism; nationalism; globalisation; economics; politics; tradition; technology; urbanism, classicism; mythology; mysticism; religion; psychology/psychoanalysis.

    Importantly, it will examine pertinent philosophies of time, historiographical practices and representations of local and world historical events, such as the two World Wars, the Russian  Revolution and the rise of Fascism.
    Finally, it will also investigate modernist concepts of the spirit of the times as well as new notions of and approaches to literary history.
    A core question posed by the symposium topic is how a modernist aesthetics of innovation transformed history in ways that make modernism not just a history of the present moment but also the history of our present.

    Confirmed Featured Speakers:

    Jean-Michel Rabaté, University of Pennsylvania Laura Marcus, University of Oxford

    More featured speakers and plenary events to be announced soon.

    Possible topics include:

    • Modernism/Avant-garde, Time and Memory • Modern Technologies, Modernism/Avant-garde and New Temporalities • History/ies of Modernism and Modern Times • Modernism Making History • Modern/ist Philosophies of History • Modernists as Historians • Modern Historiography and Literature/Culture • Modernist Historiographical Theories and Practices (Subjects/Objects, Methods, Sources) • Modernism and Bio-Historiographical Canons • The Everyday and the Historic • Issues of Periodisation • Novelty and Tradition • The Classic and the Modern • The Modernist Event

    Please send abstracts of approximately 200 words and a short paragraph of biographical information to Dr Angeliki Spiropoulou at  by 30 September 2016.

    Proposals for special panels and workshops, accompanied by topic description and full list of participants, are also welcome by the same date. For general enquiries, please send email to the above-mentioned address.

    The  ‘Historical Modernisms’ Symposium  will be held at the Senate House, School of Advanced Studies, University of London and is part of the Comparative Modernisms seminar series at the Institute of English Studies, convened by Dr Angeliki Spiropoulou, IES/SAS Visiting Research Fellow
  • From East to West: Transmitting Islamic Aesthetics in European Architecture

    Zurich | Dates: 28 Sep – 14 Dec, 2016
    Zurich, September 28 - December 14, 2016

    From East to West. Transmitting Islamic Aesthetics in European Architecture

    Lecture series - Fall Semester 2016
    University of Zurich, Institute of Art History All conferences take place in Rämistrasse, 73, RAK-8, from 18.15 to

    Nineteenth century architectural vocabulary was in part shaped by Islamic constructive and decorative forms. In addition to Cairo and Istanbul, al-Andalus played an important role in mediating a formal repertoire that was in turn received and modified by European architects. The lectures will present selected case studies that will examine the underlying transfer and appropriation processes involved in this phenomenon.

    Organizers: Prof. Dr. Francine Giese, Dr. Ariane Varela Braga


    Wednesday 28 September
    Mercedes Volait (Laboratoire InVisu (INHA/CNRS) Paris) Islamic Revival in Mamluk terms: the impact of historical Cairo on 19th c. design

    Wednesday 12 October
    Guido Zucconi (Università IUAV di Venezia) Venice looking back to the East: the case of the Fondaco dei Turchi in the century

    Wednesday 26 October
    Juan Calatrava Escobar (Universidad de Granada) Orientalisme et architecture dans les expositions universelles

    Wednesday 9 November
    Nadia Radwan (Universität Bern)
    The Suchard « Minaret »: When Local Craftsmanship meets Orientalist Fantasy

    Wednesday 23 November
    Inessa Kouteinikova (Amsterdam)
    Orient Exhibited: Russia and Central Asia (1865-1920)

    Wednesday 14 December
    Elke Pflugradt (Düsselforf)
    Das Maurische Bad auf Schloss Schwerin von Carl von Diebitsch als Nukleus für seine spätere Schaffenszeit in Kairo

    Admission is free, registration is not required
  • Award for Outstanding Work in Digital Archaeology

    Dates: 22 Sep – 01 Oct, 2016
    Digital technologies are driving important changes in archaeology.  Despite the increasing acceptance of digital technology in daily life, however, determining how to assess digital scholarship has proved difficult: many universities remain unsure about how to evaluate digital work along side more traditional forms of print publication when faced with tenure and promotion decisions.  Recognizing the value of digital scholarship, and aiming to encourage its practice, the AIA offers this award to honor projects, groups, and individuals that deploy digital technology in innovative ways in the realms of excavation, research, teaching, publishing, or outreach.

    Criteria for Selection 
    Nominations of projects and individuals are welcome. Nominations may be made by anyone, including the project director or the principal members of the team responsible for the digital creation. Nominations of collaborative projects are encouraged. At least one member of the leadership team, or any individual nominee, must be a member in good standing of the AIA. Please submit the AIA membership number(s) with the nomination.

    Due Date for Nomination - DEADLINE EXTENDED
    October 1, 2016

    Materials to Be Submitted

    Name of Project
    CV of the Project Director(s)
    Nomination form
    Additional Information
    Because the field of digital archaeology is still nascent and the application of digital technologies to archaeology is in constant flux, the committee reserves the right to modify this award as the field evolves.  Furthermore, the committee also reserves the right not give the award if no deserving project is nominated. 

    Questions about the award should be directed to Deanna Baker, Membership and Societies Administrator, at or 617-353-9361.
  • ARIT / National Endowment for the Humanities Advanced Fellowships for Research in Turkey

    Dates: 22 Sep, 2016 – 05 Feb, 2017
    The American Research Institute in Turkey (ARIT) is pleased to announce 2017-2018 fellowship programs for U.S.-based students and scholars:  

    ARIT / National Endowment for the Humanities Advanced Fellowships for Research in Turkey cover all fields of the humanities, including prehistory, history, art, archaeology, literature, and linguistics as well as interdisciplinary aspects of cultural history for applicants who have completed their academic training.  The fellowships may be held for terms ranging from four months to a full year.  Stipend per month is $4,200.

    ARIT Fellowships for Research in Turkey are offered for research in ancient, medieval, or modern times, in any field of the humanities and social sciences.  Post-doctoral and advanced doctoral fellowships may be held for various terms, for terms from one month up to one academic year.  Stipends range from $2,500 to $15,500.

    Applications for ARIT fellowships must be submitted to ARIT by November 1, 2016.  The fellowship committee will notify applicants by late January, 2017.

    ARIT Summer Fellowships for Intensive Advanced Turkish Language at Bogazici University, Istanbul, summer 2017.  The program supports intensive study of advanced Turkish language at Bogazici University in Istanbul, Turkey, including air fare, tuition, and stipend.  The application deadline is February 5. 
  • CFP: Cold War Cities: Spatial Planning, Social Politics and Cultural Practices in the Era of Atomic Urbanism, 1945-65

    Dates: 22 Sep, 2016 – 30 Apr, 2017
    We are seeking 10-12 thoughtful and unpublished essays that analyse a substantive thematic area and situate this empirically in a particular city case study. Essays can draw on a range of different evidential bases, archival research, visual methods, media hermeneutics, and personal histories and lived experiences. Book chapters should deploy appropriate theoretical ideas to understand the physical planning, politics and cultures of atomic era urban development. They should be accessible to readers without deep theoretical background in the particular thematic area and little knowledge of the city case study.

    If you are interested in contributing, please provide a tentative title,
    250 words abstract and brief bio (to be used in a formal proposal to publisher). Email to<>


    * Richard Brook, Manchester School of Architecture.<>

    * Martin Dodge, Department of Geography, University of Manchester.<>

    * Jonathan Hogg, Department of History, University of Liverpool.<>

    In this book we wish to explore how the real threat of nuclear attack through the 1950s and early '60s affected the spatial planning of cities, as well considering how such 'atomic urbanism' was manifest in political processes or expressed through cultural practices. The book is consciously to be based on set of case studies of specific cities, through which we seek understandings, at an urban scale, of how cold war doctrines played out in different thematic areas (e.g. architectural designs for survivable human habitation or anti-nuclear protests). There should also be scope for questioning the degree to which the historical development of individual cities was determined or shaped by atomic threats, thus problematizing 'the Cold War' as general analytical lens.  Rather than focus on the nation state or a whole continent, we believe looking at series of individual cities (or city regions) will provide a distinctive lens through which to reinterpret cold war histories.

    The book is also focused in its time period on the crucial decades after the Second War World because they have interpretative coherence in cold war historiography and were key periods in urban redevelopment across much of the world (such as the rise of suburban consumerism in the West, Soviet directed socialist renewal in the East and decolonialisation in other places). However, contributors may also wish to consider the legacy of actions and decisions made in this period of atomic high tension down to the contemporary city if appropriate. The objective is to have an international set of contributors with a diversity of thematic perspectives, and deploying case study cities not only in North America and Western Europe but also in the former Eastern Bloc, the Soviet Union, the Asian region and, potentially, from the Global South.

    Thematic areas could include (non-exhaustive list):

    * Physical planning in the cold war city: shelters and population survivability; spatial dispersal planning; resilient infrastructures, buildings and engineering (telecommunications, transport, etc); the zoning of land for needs of military, security and the atomic state; enrolment of scientific facilities, commercial R&D and universities; planning health services, and more general welfare planning post-attack.

    * Social / political issues in the cold war city: anti-nuclear protests, passive resistance, active unrest; participation in civil defence and critiques of preparation; public information, propaganda, education; work of news media; political struggles, legal structures.
    * Cultural practices in the cold war city: visual arts, literary responses to nuclear threats; architectural design, landscape aesthetics; religious responses and faith perspective; popular culture and entertainment (television, radio, fiction); civic spaces and the representation of atomic age ideas; design and functioning of the domestic sphere.


    Practical details:
    * Submission date: April 2017
    * Length: around 7,000 words (exc. bibliography)
    * Language: UK English
    * Format: please try to use the Routledge style guide, esp. for citations and formatting of bibliography to facilitate production
    * Figures: high-quality b/w illustrations desirable. Limited colour figures may be possible in plates section. Please ensure you have copyright or can secure copyright clearance for illustrations. Authors will be responsible for any costs of copyright licensing
    * Delivery: Word document, email to<>


    Intellectual background:
    Cities across the world were the primary target of strategic atomic weaponry in the early cold war period. Post-war urban planning, politics and cultural practice became a central part of Cold War battlefront. For instance, important mechanisms to try secure cities against atomic attack were created, and social space was re-designed to contain the threat of Communism or Capitalism, or to offer an ideologically-informed vision of the modern, high-tech and consumerist or socialist future. However, the focus of historical studies of these decades has traditionally been on international relations, continental blocs and geopolitical struggles at the global scale. While there has been some historical work published in recent years on cold war planning, politics and culture at the national level, which is often strongly urban in focus (e.g. monographs by Andrew Burtch, Jennifer Light, Matthew Grant, Matthew Farish), there has been less analysis of the context of the city as site in which physical plans, social politics and cultural practices played out in distinctive ways (exceptions include theme issue of Urban History (2015) and the May 2016 Cold War Cities workshop at the University of Sheffield). One of the major features of intellectual growth in the humanities, especially history, is interdisciplinary interest in space and place. Here, the city is viewed a significant context in which to explore place, landscape and locational attributes under a set of specific imperatives of defence from an unprecedented new threat.  This edited collection will be a unique contribution that looks at how the cold war unfolded in different cities across the world.

    We intend authors to come from more than North America and Europe; they may include scholars in Japan, Russia, China and elsewhere.  Contributors will be drawn from cogent disciplinary backgrounds including, for example, architectural history, planning, history of science, economic and social history, human geography, political science, cultural studies, and other cognizant fields of scholarship.

    Proposed book structure:
    The volume will include an introductory overview essay by the editors and series of chapters grouped into three major sections: physical, social-political, cultural. Each chapter will tackle a substantial thematic issue and make use of a specific city for empirical evidence.  We expect that some contributions may speak across this threefold structure and will deal with this by section overviews.
  • Actors and Vehicles of Architectural Criticism

    Bologna | Dates: 04 – 05 Oct, 2016
    After the first workshop at the Université Rennes 2 (January 2016), centered on the relationship of criticism to “public opinion” and on criticism as an autonomous discipline, Actors and Vehicles of Architectural Criticism (Università di Bologna, October 4-5, 2016) is the second of three international workshops planned by the Mapping.Crit.Arch: Architectural criticism 20th and 21st centuries, a cartography research project (funded by the French Agence Nationale de la Recherche, ANR) to foster scholarship on the history of architectural criticism and facilitate exchanges between scholars active in this field of research.

    This second international workshop takes into consideration the actors and the vehicles of criticism: with these terms it refers to both the agents of criticism (critics, architects, historians, publishers, photographers, institutions, etc.) and the media through which criticism is disseminated (press, photography, exhibitions, etc.). The workshop aims to expand the knowledge about the specific functions of these actors and their networks and to outline their mutual relationships. The four sessions investigate the links between the actors, the media of criticism, and the historical contexts within which they materialize, as well as the cultural, intellectual, and institutional milieus from which they originate.

    The first session Vehicles and Actors: Journals, Newspapers and their Editors deals with the influence on the forms, discourse, and contents of criticism on the part of specific types of journals, from daily newspapers, to cultural magazines and building construction periodicals and wants to put into question the categories that recurrently describe the so-called “typologies of criticism”. The second (Institutions, Exhibitions, Competitions) and fourth (Critical Competencies) sessions intend to broaden the notion of “actor” of architectural criticism not only to encompass critics or authors (the same notion of “authorship” in criticism might be subject to question) but also to include professional and academic institutions, publishers, and the various specialists who are involved in the actual production of professional publications. As a different vehicle of architectural criticism, the third session (Visual Criticism) would like to pay attention to the photographic image and, more generally, to the visual components of architectural criticism.
  • CFP: Vernacular Architecture Forum Annual Conference (Salt Lake City, 31 May-3 Jun 17)

    Salt Lake City | Dates: 22 Sep – 30 Oct, 2016
    Call for papers deadline: October 30, 2016

    The Vernacular Architecture Forum ( invites paper proposals for its 36th Annual Conference in Salt Lake City, Utah, May 31-June 3, 2017.  Papers may address vernacular and everyday buildings, sites, or cultural landscapes worldwide. Submissions on all relevant topics are welcome but we encourage papers exploring western American themes, including ethnic settlement, landscapes of ranching, mining, and agriculture, urbanization, religious expression, Native American identity, and the creation of vacation and recreation landscapes.  Additionally, the VAF is launching a multi-year program of inquiry into the distinctiveness of the VAF and the vernacular architecture movement. To this end, we encourage papers that consider this field over time. How does the wide range of VAF projects (tours, guidebooks, book and article awards, field schools, annual conference papers, publications, etc.) demonstrate how our questions, concerns, and methods have changed and evolved?  Where do we see evidence of that history in our current work, and what might our future look like? Proposals might focus on a particular building type (i.e. houses, barns), a research strategy (fieldwork), political or theoretical convictions (Gender, Marxism, the Everyday, etc), or particular approaches to presenting our work and engaging colleagues and the public.

    Students and young professionals may also apply for the Pamela H. Simpson Presenter’s Fellowships offering support of up to $500 to presenting papers at VAF’s annual conference.
  • CONF: Architectural Painting in the 16th and 17th Century

    Antwerp | Dates: 10 – 10 Oct, 2016
    Antwerp, Rubenianum, October 10, 2016
    Registration deadline: Oct 5, 2016

    Colloquium organized in conjunction with the exhibition Divine Interiors held at the Museum Mayer van den Bergh, Antwerp until October 16th.

    08.45     Registration and coffee

    09.30     Welcome by Dr. Claire Baisier, director Museum Mayer van den 

    Morning session

    chair: Prof. em. Dr. Hans Vlieghe, Centrum Rubenianum

    09.45     Dr. Thomas Fusenig (Universität Münster)
    Hans Vredeman de Vries as painter of illusionistic wall paintings in Antwerp

    10.10    Dr. Anna Koopstra (National Gallery, London) 
    New insights on Hendrik van Steenwijck the Younger’s use of prints as sources.

    10.35      Dr. Joost Van der Auwera (Royal Museums of Fine Arts of 
    Belgium) & Dr. Claire Baisier (Museum Mayer van den Bergh) Sebastiaen Vrancx als architectuurschilder: nieuwe toeschrijvingen

    11.00     Coffee break

    11.30     Bernard Vermet (Stichting Cultuur Inventarisatie, Amsterdam)
    Bartholomeus van Bassen, tussen Noord en Zuid

    11.55     Lorne Darnell (Leiden University)
    An Uncanny Likeness: Pieter Saenredam, Hans Vredeman de Vries and the Gothic in Perspective

    12.20     Questions and discussion

    12.30     Lunch break

    Afternoon session

    chair: Véronique Van de Kerckhof, Rubenianum

    14.00     Dr. Almut Pollmer-Schmidt (Städel Museum, Frankfurt)
    Antwerpen, Frankfurt, Delft. Kircheninterieurs als Medien des konfessionellen Diskurses

    14.25    Rutger Steenmeijer (architect, Antwerpen) 
    Architectuurschilderkunst en de restauratie van monumentale kerken in Antwerpen

    14.50     Lotte Gielen & Jeroen van Omme (Mindscape 3D)
    De mogelijkheden van 3D en virtuele realiteit in publiekswerking

    15.15     Questions and discussion

    15.30     Coffee break

    16.00    Speakers’ corner (short presentations)
    Dr. Wolfgang Cilleßen (Historisches Museum Frankfurt) Kerkinterieurs uit Frankfurt: de zaak Johann Ludwig Ernst Morgenstern

    Dr. Bernd Ebert (Bayerische Staatsgemäldesammlungen München) A church interior by Jacobus Vrel

    16.15     Questions and discussion

    16.30    Closing remarks by Véronique Van de Kerckhof, director 
    Lasting perspectives for the research on church interior painting in Antwerp. Announcing the promised gift of the documentation of Mr. 
    Bernard Maillet to the Rubenianum

    17.00     Visit of the exhibition Divine Interiors. Experience churches 
    in the age of Rubens, Museum Mayer van den Bergh, Lange Gasthuisstraat 19, 2000 Antwerpen

    Information: or e-mail to

    Registration: ______________________________________
    Registration is mandatory and open until October 5, 2016.
    Registration fee includes: coffee, refreshments breaks, lunch and visit to the exhibition ‘Divine Interiors’ in Museum Mayer van den Bergh.
    Full price: € 40,00
    Student (with valid student card only): € 20,00
    Payment: via bank transfer to account number (IBAN) BE42 4097 5857 0154, BIC (SWIFT) code KREDBEBB of vzw Antwerpen Kunstenstad, quoting: 
    “Divine Interiors + name & first name”.
    Registration is final once your fee has been paid.
  • CFP: Collaborations between Architects and Historians

    Detroit | Dates: 22 Sep – 05 Oct, 2016
    Detroit, ACSA Conference, March 23 - 25, 2017
    Deadline: Oct 5, 2016

    We are happy to announce a call for papers for a session related to the intersection of architecture and history at the upcoming American Collegiate Schools of Architecture (ACSA) conference in Mar. 2017.

    The deadline to submit a paper to be considered in the session has just been extended, to Wed. Oct. 5, 2016.

    The session:
    In Practice: History as Research and Design Strategy

    In both the profession and the academy, there is a renewed interest in the past.  With the passing of theory, and efforts to move beyond the emphases on economics, technology, and ecology, contemporary architects are once again looking to history and the past as drivers for design.  
    History is not just a source of precedents, or a “bag of tricks” for the architect to apply, but a research problem, the source of a design strategy, even a layer of complexity in the material of architecture.  
    Architects are ever more self-consciously inventing, projecting, or manipulating the relation of present and past.

    We are interested in collecting and presenting an array of “strategies” 
    that focus on the practice of architecture as an intellectual process in dialogue with history.  We seek papers that challenge given notions of the distinct role that practice and history play, that scrutinize situations where the threads of history and practice cross paths in a critical and productive dialogue.  We welcome investigations into all manner of critical exchange between the project of architecture and the project of history. We are curious about collaborations between architects and historians, as well as architects working as historians, and vice versa.  We are especially interested in cases in which contemporary architecture pushes the historical discourse into new territories.

    Topic Chairs: 
    Dr. Francesca Torello, Carnegie Mellon University
    ( and
    Dr. Kai K. Gutschow, Carnegie Mellon University (

    For more info on the overall call for papers: 

    105th ACSA Annual Meeting  |  Brooklyn says "Move to Detroit"
    March 23-25, 2017  |  Detroit, Michigan
  • Of(f) Our Times: The Aftermath of the Ephemeral and other Curatorial Anachronics

    Oslo | Dates: 30 Sep, 2016 – 27 Jan, 2017
    Oslo, Fritt Ord, September 30, 2016

    Of(f) Our Times
    The Aftermath of the Ephemeral and other Curatorial Anachronics
    Two-Part Public Seminar
    Part I: Friday, 30 September 2016
    Fritt Ord
    Uranienborgveien 2
    0258 Oslo, Norway
    14.00 - 14.30 Introduction
    Rike Frank, Curator and Associate Professor of Exhibition Studies, Kunstakademiet, Oslo Beatrice von Bismarck, Professor for Art History, Visual Culture and Cultures of the Curatorial, Academy of Arts Leipzig
    14.30 – 15.00 Mapping
    Nora Joung, Artist and Writer, Oslo
    15.00 – 15.45
    Cosmin Costinas, Executive Director and Curator, Para Site, Hong Kong
    15.45 – 16.30 a chronicle of A Chronicle of Interventions Inti Guerrero, Art Critic and Curator, Hong Kong, Estrellita B. Brodsky Adjunct Curator of Latin American Art, Tate, London & Curator of EVA International 2018, Limerick
    16.45 – 17.30 Screening El helicóptero, 2016 & panel discussion Dora García, Artist and Professor of Contemporary Art, Oslo National Academy of the Arts
    18.00 – 18.45 Documents of Experience: Exhibitions, archives and undisciplining histories Anthony Gardner, Art Historian, Art critic and Associate Professor of Contemporary Art History and Theory, Oxford
    18.45 – 19.30 An ethnography as a method, an exhibition as a fiction Marcelo Rezende, Researcher, Critic and Curator, Salvador da Bahia, former director of the Museum of Modern Art of Bahia (2012-2015) & artistic director of the 3rd Bahia Biennial (2014)
    In a series of lectures, presentations, screenings and discussions
    Of(f) Our Times: The Aftermath of the Ephemeral and other Curatorial Anachronics critically reflects on the concept of “exhibition history”. 
    It starts from an understanding of exhibiting as a practice connected to broader social, economic and political developments while constituting a medium that generates situational and non-situational forms of knowledge. In this light, “exhibition history” has to go beyond techniques of historical analysis and revision. Instead Of(f) Our Times is interested in an understanding that runs counter to the current canonization and academization of the historical writing on and referencing of exhibitions. It aims to approach the debates on ‘re-‘, historiography and historicity from a perspective that acknowledges and demonstrates the specific qualities of the exhibition as a medium and its reverberations in and entanglement with other narrative forms (such as writing, film, performance …) and cultural memories. In dialogue with artists, curators, and writers the conference thus sets out to explore modes and methods of curatorial relating, through which the actualization is rather done “with” exhibitions than “about” 
    The seminar aims to address questions such as: How do historical exhibitions participate in contemporary cultural discourses? How can ‘exhibition history’ as a methodology open up into the present and future? What are the underlying concepts of history, historiography, and historicity? And how do they relate to concepts of actualization, presence, presentism and future? How (and why) can a historical exhibition get actualized? What role do the material qualities of an exhibition play in relation to the discursive ones? And what are the characteristics (and short-comings) of the research and writings on "exhibition history" so far?
    As part of its program Of(f) Our Times will host the Oslo premiere of Dora Garcia’s new film El Helicóptero (2016).
    Rike Frank, Curator and Associate Professor of Exhibition Studies, Oslo National Academy of the Arts Beatrice von Bismarck, Professor for Art History, Visual Culture and Cultures of the Curatorial, Academy of Arts Leipzig
    Part II of the public seminar will be held on January 27, 2017 and include contributions a.o. by Milena Høgsberg, Natalie Hope O’Donnell, Lara Khaldi, Sarah Pierce, Lucy Steeds and Anne Szefer-Karlsen
    Participation in the conference is free. Due to limited seating, we kindly ask for registration until September 25, 2016. Please email to:
    For abstracts and short CV’s of the participants please go to:
    Of(f) Our Times: The Aftermath of the Ephemeral and other Curatorial Anachronics is made possible with support from Oslo National Academy of the Arts.
  • CFP: Rereading Louis Hautecour

    Rouen/Darnetal | Dates: 22 Sep – 07 Nov, 2016
    École nationale supérieure d'architecture de Normandie, May 12, 2017
    Deadline: Nov 7, 2016

    CFP - Conference "Rereading Louis Hautecœur" 
    École nationale supérieure d’architecture de Normandie, Rouen/Darnétal
    Friday 12 May 2017

    This conference focuses on Louis Hautecœur (1884-1973), who dedicated 
    his life to art and architecture, not only of the past but also of the 
    present. The importance of his numerous contributions was neglected by 
    scholars for many years, before appearing, beginning in the 1980s, in 
    works addressing the history of art and architecture of the Vichy 
    period.  It was necessary to wait two more decades for Hautecœur to 
    become the object of dedicated study.  This pioneering research 
    illustrated Hautecœur’s multiple areas of expertise while shedding 
    light on the great upheavals of the 20th century.

    As a civil servant, Hautecœur was involved in the artistic and 
    architectural debates and institutions of his day. Versatile and 
    prolific, he successively or simultaneously exercised several 
    professions: professor of art and architectural history (École du 
    Louvre, École des Beaux-Arts), architectural historian (the 
    seven-volume L’Histoire de l’Architecture classique en France), art and 
    architectural critic (Editor-in-Chief of L’Architecture), exhibition 
    curator (international exhibitions, Venice Biennales), museum 
    administrator (Musée du Luxembourg and instigator of the Musée national 
    d’art modern) and a reform-minded State administrator (Director of Fine 
    Arts in Egypt and France).

    This conference seeks to continue and broaden this research by 
    exploring lesser-known aspects of Hautecœur’s actions. Contributions 
    should cover Hautecœur’s scholarly and administrative careers, the 
    impact of his reforms, as well as the artistic, intellectual and 
    political context in which his actions were inscribed.

    In the context of this conference, it could be interesting to explore 
    one or more of several overarching themes that traverse Hautecœur's 
    career, including:
    - His conception of French Classicism as a living tradition and his 
    plea for a third way for contemporary artistic and architectural 
    production, between tradition and modernity. 
    - His interest in contemporary artists and architects as manifested in 
    his Musée du Luxembourg acquisition policies, as well as in his 
    participation in artistic and architectural commissions, exhibitions 
    and international exchanges.
    - The modernization of the administration and of institutions of arts 
    and architecture. 
    - The professionalization of actors through the creation of the 
    ‘classés-contrôlés’ museum system, the protection of titles and 
    educational reforms. 
    - The ways in which he translated his specific notion of French 
    identity through his thinking about the protection of heritage, art, 
    and landscape as well as his vision of architectural and urban design.

    Submissions, in French or in English, should include an abstract 
    (maximum 2000 characters, spaces included), accompanied by an 
    indicative bibliography of five articles, books or archival sources, as 
    well as an author’s biography (maximum 400 characters). Please submit 
    all three elements as a single Word or PDF file, labeled as follows: 
    LAST NAME_resume.doc (or .pdf). Submissions are due by 7 November 2016 
    before midnight, sent to: colloque.hautecœur[at]

    Steering Committee

    Patrice Gourbin
    Enseignant (Histoire et cultures architecturales), ENSA Normandie / ATE 
    Tricia Meehan 
    Maitre assistante (Ville et territoire), ENSA Normandie / ATE Normandie

    Academic Organization

    Élise Guillerm
    Assistante scientifique, ENSA Normandie / HiCSA

    Advisory Committee

    Antonio Brucculeri
    Maître-assistant (Histoire et cultures architecturales), ENSA Paris-Val 
    de Seine / EVCAU
    Julien Bastoen
    Docteur en architecture / AHTTEP
    Jean-Louis Cohen 
    Sheldon H. Solow Professor in the History of Architecture, Institute of 
    Fine Arts, New York University / Professeur invité du Collège de France
    Claire Maingon 
    Maître de conférences (Histoire de l’art), Normandie Université (Rouen) 
    / GRHis
    Caroline Maniaque
    Professeure (Histoire et cultures architecturales), ENSA Normandie / 
    Pascal Ory 
    Professeur (Histoire contemporaine), Sorbonne (Paris1) / CHS
    Yves Pauwels 
    Professeur (Histoire de l’art), Université François-Rabelais de Tours / 
    Hélène Serre de Talhouët
    Enseignante (Histoire de l’art), Institut Catholique de Paris / IRHiS


    Call for proposals opens: 9 September 2016
    Deadline for receiving proposals: 7 November 2016
    Announcement of decisions: 13 January 2017 at the latest
    Submission of presentation text: 14 April 2017 at the latest
    Conference: 12 May 2017

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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