A symposium marking the fiftieth anniversary of Robert Venturi's 'gentle manifesto'
David Brownlee, University of Pennsylvania
Martino Stierli, The Museum of Modern Art
More information to be announced.
CALL FOR PAPERS
Modernity’s ‘Other’ – Disclosing Southeast Asia’s built environment across the colonial and postcolonial worlds
Dates: 5-7 January 2017
Venue: Department of Architecture, SDE, National University of Singapore
Convenors: Dr. Lee Kah-Wee, Dr. Imran Tajudeen, Dr. Chang Jiat-Hwee
Abstract Submission Deadline: 5 July 2016
Confirmed Keynote Speakers:
Abidin Kusno, Institute of Asian Studies, University of British Columbia
Carl Trocki, Fellow, Australian Academy of the Humanities
Across various disciplines, attention on the category of the “Other” has shone light on women, minorities, the poor, profane, criminal and mundane. But what and where is the category of “Others” in architectural studies? Is it to be attached to the spaces and buildings associated with these marginalized social categories? Or are there intrinsically architectural “Others” – subjects within the discipline that undergird its internal discourse through contrast and opposition – that should be opened up to interdisciplinary scrutiny? Finally, what can Southeast Asia offer to the larger intellectual debates in which the category of the “Other” has played a critical role in the last few decades?
This series of questions forms the intellectual agenda of the Southeast Asia Architecture Research Collaborative (SEAARC) Symposium 2017. It is of course not new. One might say that the category of the ‘Other’ is inherent to every discipline’s capacity to reflect on and renew itself. Its generative power lies in how it lends a critical and corrective perspective to the grand narratives of modernity and the internal structures of scholarly discourse. With the postmodern turn towards the everyday, for example, architectural studies have jettisoned the cathedral for the bicycle shed, giving rise to studies in vernacular architecture, counterculture and domestic environments. Studies into the relationship between nationalism and architecture shuttled between, on the one hand, an imperial imperative to establish architectural exemplars of new national identities and on the other, critical inquiries aimed at demystifying this will-to-essentialize by revealing its violence and contingencies. Post 1960s, anthropology, postcolonial and feminist theory, cultural studies and new historicism have all left an indelible imprint on the internal and external reorientation of architectural studies.
Nevertheless, this conference contends that more can be gained by interrogating the concept of the “Other”. It asks not only that we broaden the types of buildings that merit serious scholarly interest, but to question if the field itself can be broadened – the range of discourses, settings, politics and practices wherein the built environment becomes a foil for understanding the hidden and suppressed aspects of societies. It seeks fresh collaboration with allied disciplines that might throw up promising directions in how one can theorize and analyze the “Other”, as well as the challenges of such projects. And finally, by positioning the inquiry in Southeast Asia, this conference takes the world-historical patterns of colonial and postcolonial development, nationalism, economic globalization and cultural change as the broad canvas on which the historical and contemporary transformations of this region are writ large.
The ambition of this conference extends from the first SEAARC symposium, “Questions in Southeast Asia’s Architecture/Southeast Asia’s Architecture in Question”. We see this firstly as a stocktaking of current research on architecture and urbanism in Southeast Asia and secondly as an opportunity to provoke dialogue around an infamously (re)generative concept. The SEAARC is also committed to encouraging discourse amongst and giving visibility to scholars from regions that may not be well represented in major conferences, and as such, we continue to provide financial assistance to these participants. Details on financial assistance are given at the bottom of this CFP.
Visit ICEBERGS in the Museum's Great Hall. Designed by James Corner Field Operations, the installation opens as part of the annual Summer Block Party series, July 2 - September 5.
Explore a fantastical glacial sea designed by landscape architects
Ascend to a viewing area inside the tallest berg
Traverse an undersea bridge or slide down an ice chute
Sample Japanese kakigori shaved ice provided by the restaurant Daikaya
Learn about how design can transform spaces and lives
ICEBERGS is built from re-usable construction materials, such as scaffolding and polycarbonate paneling, a material commonly used in building greenhouses. The 20' high "water line" allows panoramic views from high above the ocean surface and down below among the towering bergs. The tallest “bergy bit,” at 56', reaches to the third story balcony of the Museum. ICEBERGS occupies a total area of 12,540 square feet.
The National Humanities Center invites applications for academic-year or one-semester residencies. Fellowship applicants must have a PhD or equivalent scholarly credentials. Mid-career as well as senior scholars from all areas of the humanities are welcome; emerging scholars with a strong record of peer-reviewed work are also invited to apply. The Center does not normally support the revision of a doctoral dissertation. Located in the progressive Triangle region of North Carolina, the Center affords access to the rich cultural and intellectual communities supported by the area’s research institutes, universities, and dynamic arts scene. Fellows have private studies; the library service delivers all research materials. Scholars from all parts of the globe are eligible; a stipend and travel expenses are provided. The deadline for applications is October 18, 2016.
The National Humanities Center does not discriminate on the basis of race, color, sex, gender identity, religion, national or ethnic origin, handicap, sexual orientation, or age. We are dedicated to fair treatment, diversity, and inclusion.
Today the Getty Research Institute (GRI) launched an updated version of its research tool, the Getty Research Portal ™. A virtual library of art history texts, the newly redesigned Getty Research Portal now offers more than 100,000 volumes available from more than 20 international partners.
Launched in 2012, and created in partnership with some of the world’s leading art libraries, the Getty Research Portal is a free online search gateway that aggregates the metadata of art history and cultural texts, with links to fully digitized copies that are free to download. There are no special requirements in order to use this resource and it is completely open to anyone with internet access.
“When we began this exceptional project we had eight founding institutions, all committed to sharing their digitized collections of rare books, foundational art historical literature, catalogues, periodicals, and other published resources with researchers without limit or impediment,” says Thomas W. Gaehtgens, director of the GRI. “On our 4th anniversary, we renew that commitment, with an improved user interface, more international partners, and now more than 100,000 volumes available for download. Thousands of people use this tool and our books have been viewed nearly 13 million times. This broad access is fundamental to the GRI’s mission to further the understanding of art and a core principal in our approach to art historical research.”
The re-launched Portal has been rebuilt and redesigned, marking it easier to explore digitized texts on art, architecture, material culture, and related fields from the Getty Research Library and international partners. The new user interface features several key improvements, including: new search filters that make results sortable by criteria such as date and language; a responsive design that allows for better use on phones and tablets; individual pages for each digitized text enabling users to easily share links; prominent display of edition details for books, when available; and new additions from participating libraries are more clearly highlighted.
“The Getty Research Portal aspires to offer a more expansive and global collection than any single art library could provide,” said Kathleen Salomon, assistant director at the GRI. “In just four years, we have seen the Portal grow significantly and internationally, from our original eight partners to currently 21 institutions. Working with them, we provide a reliable resource and a convenient tool for scholars and researchers at all levels and now can claim 70,000 individual visitors.”
Over the past year, the GRI has expanded the Portal project significantly by adding scanning workstations and staff to rapidly scan titles that have been carefully selected for inclusion in the Portal, more than doubling the capacity for digitizing Getty Research Library collections. Additionally, new partners are greatly adding volumes to the Portal.
The newest partners to join the Getty in this effort are the Art Institute of Chicago’s Ryerson and Burnham Libraries, the Bibliotheca Hertziana – Max Planck Institute for Art History in Rome, the Herzog August Bibliothek in Wolfenbüttel, the Menil Library Collection in Houston, the Solomon R. Guggenheim Museum Library and Archives in New York, and the Warburg Institute Library in London. They join the Heidelberg University Library, the Thomas J. Watson Library at the Metropolitan Museum of Art, the Smithsonian Libraries, the Institut National d’Histoire de l’Art, the Library of the Philadelphia Museum of Art, the Avery Architectural & Fine Arts Library at Columbia University, the Sterling and Francine Clark Art Institute Library, the Frick Art Reference Library, the Brooklyn Museum Libraries and Archives, the New York Art Resources Consortium, the National Gallery of Canada Library and Archives, the Kunsthistorisches Institut in Florenz, the Biblioteca de la Universidad de Málaga, and Gallica: Bibliothèque national de France. Getty partners include the Getty Research Institute, the Getty Publications Virtual Library, and the Online Scholarly Catalogue Initiative.
Overseeing this vast expansion of content is Anne Rana, Project Manager. Senior Software Engineer Joshua Gomez and his team are responsible for the software improvements and ongoing technical support.
The Getty Research Portal can be accessed at Portal.getty.edu.
The relationship between the scholarly interrogation of cinema and architecture has an established history. This symposium seeks to do two things: first, to chart this history from both disciplinary perspectives and their sometime mutual engagement, in the process offering rejuvenation; and second, to suggest new directions for research in this area, taking on both historical and recent developments in the relationship between film and architecture. We are seeking symposium papers that go beyond citing the representation of famous architecture and built environments on film, and instead look at the mutual impact of each art form and their scholarly analysis.
The symposium will be organised as plenary sessions comprising panels of three papers running 30 minutes each followed by generous discussion, so that all participants can attend each paper. Presenters are invited to propose abstracts for papers starting from diverse points of entry and background in cinema studies, architecture studies, or a mixture of both, with a focus on the combination of critical and theoretical work with specific filmic-architectural examples and analysis.
General topic areas for possible papers include, but are not limited to, the following:
Examining the role 1920s cinema has played for film-architecture scholarship, and how best to productively understand this ?foundational? heritage today.
Assessing the productive role played by the study of 1940s & '50s film noir (and later "neo" iterations) in film-architecture scholarship.
Examining the importance of 1950s & '60s post-war modernist art cinema in relation to late modernity's transformation of urban space, and its radical impact on human experience.
Explorations of film-architecture research on suburban built environments in the cinema.
Explorations of (and the need for) scholarly work on small-town, village, and rural built environments on screen.
Assessments of the extent to which post-colonial interrogations and increasingly urgent calls for a "world cinema" approach are reflected in film-architecture scholarship.
The symposium convenors invite interested scholars from around the world to send proposals for proposed papers related to the above topics, or to suggest others. Please send a 300-word abstract and 100-word biography (including university staff or other relevant webpage link) to hamish.Ford@newcastle.edu.au, using the email subject line "New Directions in Film-Architecture abstract", by 15 July, 2016. The symposium convenors will send out formal acceptance emails at the beginning of August.
We look forward to hearing from you!
Hamish Ford (University of Newcastle), Michael Chapman (University of Newcastle), Charles Rice (University of Technology, Sydney), Sam Spurr (University of NSW).
The M+ / Design Trust Research Fellowship programme supports an original research project investigating issues relating to design and architecture in the Greater Pearl River Delta region, and between the region and other parts of the world. In addition to expanding the current body of knowledge in these areas, the findings from the fellowship will inform future acquisitions and other programmes at M+.
Applicants should engage in advanced research on historical or contemporary topics relating to either a single discipline (such as architecture, graphic design, industrial design, and urbanism) or cross-disciplinary developments, taking into consideration the region’s cultural, social, economic, and political milieus as well as its international and cross-cultural networks. Although post-1949 topics are preferred, exceptional proposals focusing on issues related to the beginning of the twentieth century will also be considered.
The successful applicant will be attached to M+ for three to six months in 2017, conducting independent research, preferably on a full-time basis. The fellow is encouraged to engage in intellectual exchanges with the museum’s curatorial staff and participate in its programmes. While outcomes may vary, the fellowship should at minimum result in 1) a paper (5,000 words or more) disseminated digitally or in print through M+ and Design Trust’s platforms and 2) a lecture as part of the museum’s public programme.
Applications are welcome from individuals of all nationalities whose areas of research are in design, architecture, or a related field. Applicants should either hold a post-graduate degree in a relevant discipline or an undergraduate degree with minimum three years relevant professional work or academic research experience. Proficiency in spoken and written English is also required.
The M+ / Design Trust Research Fellow will receive a lump-sum stipend of up to $40,000 HKD per month for three to six months to cover research-related and living costs. (The monthly stipend may be prorated for a part-time fellow, depending on individual circumstances.) An overseas fellow may request a one-time travel subsidy of up to $10,000 HKD, covering transportation to and from the place of origin and Hong Kong.
The deadline for submitting the application is 22 July 2016.
Please send all application materials digitally and address enquiries to firstname.lastname@example.org.
For the application form and further information, visit www.westkowloon.hk/designfellow
A cornerstone of the ambitious West Kowloon Cultural District, M+ is Hong Kong’s new museum for visual culture, encompassing twentieth and twenty-first century art, design and architecture, and moving image from Hong Kong, China, Asia, and beyond.
From its vantage point in one of the world’s most dynamic regions, M+ documents the past, informs the present, and contributes to the future of visual culture within an even more interconnected global landscape. The museum takes an interdisciplinary approach that both challenges and respects existing boundaries, while creating a meeting point for a multiplicity of perspectives, narratives, and audiences.
About Design Trust
Design Trust is a network of individuals passionate about design and its powerful role in societal transformation. The Trust supports creative projects that promote design talent, research initiatives, and content related to Hong Kong and the Greater Pearl River Delta Region. Across a multiplicity of design disciplines from graphics, media, fashion, to the built environment, the Trust aims to actively accelerate the creative design and development of meaningful projects.
Call for papers for issue no 24 of the journal Ridiculosa to be edited by Aline dell’Orto (EHESS/PUC-Rio) and Dominic Hardy (Université du Québec à Montréal)
In his 1908 book L’Esthétique des villes, Émile Magne writes: “A street, no matter how beautiful it may be, doesn’t make its existence manifest simply by virtue of its architecture. As an inert organism, it needs to be inhabited and criss-crossed if it is to acquire a soul.
Then, as a reflection of humanity, it adopts within the human collectivity the attitude conferred by its inhabitants and passers-by.”
As Magne sees it, this “soul of the street” is constituted by people, their objects and their cultural practices. This idea returns a century later, in 2010, when Luca Visconti and his collaborators pen the article Street Art, Sweet Art? Reclaiming the “Public” in Public
Place: “The city is not only made up of people, of buildings, but of relationships between people and buildings, between people and walls,
between the eyes of the people and our poetry.” Whereas Magne refers
to the commercial activities that bring people together in the public space, Visconti et al. are specifically concerned street art as a form of artistic expression.
These two situations share what these writers call the inevitability of public space, that is, the fact that we cannot avoid the images with which public space is invested. By the same token, the quest for a larger audience led artists in the 1960s to leave behind gallery spaces for those of the streets. If urban art is at the core of our investigation of the ways in which public space has been occupied and transformed graphic satire, we also propose a wider temporal and thematic framework in order to place this enquiry into a broader historical structure. We identify three strands as starting points for proposals that may equally well cross aspects of each:
1/The street as physical surface for satirical production Here, we are concerned with the street as a surface for graphic satire and the point of view of production. Walls, pavements, streetlamps, benches are so many sites for satirical expression, as are billboards, vitrines or newspaper-stands, or indeed an official project such as Trafalgar Square’s Fourth Plinth.
2/Satirizing in the Street: Creation and popular gathering The street is also seen as a site for ephemeral expressions, for demonstrations and protest signs. Luca Visconti et al. suggest that we replace the word space by place, a word whose French homonym place offers thought-provoking echoes (place, a public square; place, a position in a hierarchical sequence). This polysemic place is the site par excellence for public gatherings; it is occupied by a population that gives it its meaning. Here we can think of large-scale gatherings that are the occasion for the production of satirical imagery, from the nineteenth century (the carnival of Rio de Janeiro, for example) right through to the present (Québec’s 2012 Maple Spring/Printemps érable movement).
3/Transitioning towards a satirical heritage By slightly inverting this logic, we are also interested in the gaze of the spectator and in the reception of this satirical imagery. Here, the street is understood as a site of transition; despite ourselves, we are caught up in a wide range of satirical and humorous images, so that new forms of consumption are created. What relationships are established between urban dwellers and these visual manifestations? How are we to make sense of the countless surfaces that are covered with unauthorized graphic interventions, furtive and ephemeral—which can eventually become reconstituted as documentary (and documented) traces in an Archive that might be material (or not), or that might be involuntary or indeed unstable?
Proposals, not exceeding 500 words and accompanied by a short biographical notice should be sent by June 30, 2016, to Aline dell’Orto
(email@example.com) and Dominic Hardy (firstname.lastname@example.org).
The list of accepted proposals will be established in mid-September, with final texts to follow by February 15, 2017.
*Architecture as Evidence* presents a set of materials gathered during a forensic analysis of the architecture of Auschwitz. It assembles plaster casts of blueprints, letters, contractor bills, and photographs, as well as two reconstructed monuments (a gas column and a gas-tight hatch), which together provide tangible evidence that Auschwitz was designed by its architects as an efficient system of mass murder. In focusing on seemingly minimal architectural decisions with mortal consequences, the exhibition questions the idea of architecture as a neutral background against which different activities can unfold and offers a reminder of the worst acts we can participate in as architects. The material on display is also presented at the 2016 Venice Architecture Biennale. Curated by Anne Bordeleau, Sascha Hastings, Donald McKay, and Robert Jan van Pelt, Waterloo University. Graphic design by Uniform, Montreal.
Chile has gained international recognition for its extraordinary architecture. This success reflects the high-quality modern architecture of the 1960s and the resurgence of new architectural practices at the beginning of the twenty-first century, following a cultural blackout in the seventies and eighties.
During the twentieth century, contemporary architecture in Chile evolved from executing traditional programs in line with the modern precepts of the 1960s towards new architectural practices. The recent eruption of globalized design tools, as well as new local cultural quests, has paved the way for architecture that promotes research and encourages new programs and practices. Architecture emerges as a reflection of research processes, some temporary and others recycled, to build on past works using a contemporary vocabulary.
EXTRA-ORDINARY presents 18 recently completed projects by 16 Chilean architects, including recent Pritzker Prize winner Alejandro Aravena of Elemental. The exhibition showcases photography, schematic drawings, ephemera, and video interviews with the Chilean design community, introducing New York City audiences to the diverse architecture emerging from Chile.
Curators: Jeannette Plaut and Marcelo Sarovic
Organized and produced by: Constructo and the Center for Architecture
The DigitalGLAM symposium will bring together cultural institutions, historians, heritage practitioners, researchers and digital designers to discover new practices in digital media and cultural engagement. The event will include national and international keynote talks, and panels of presentations and discussions around four themes of Touring, Digital Frontiers, Immersive Experience, and Animating Archives.
Professor Sarah Kenderdine, Professor at UNSW Art & Design
Antony Robbins, Director of Communications at the Museum of London
Breandan Knowlton, Executive Director at Historypin
Participating cultural sector institutions include the State Library of Victoria, Museum Victoria, Zoo Victoria, The Shrine of Remembrance, ACMI, Public Records Office of Victoria, and a number of researchers and designers.
The symposium is supported through an Australian Research Council Discovery project and a Melbourne Engagement Grant led by Assoc Prof Hannah Lewi and Dr Wally Smith, with Dr Steve Cooke (Deakin), Dr David Nichols, Andrew Murray and Dr Dora Constantinidis.
As part of the symposium, the University of Melbourne, in association with the Victorian Museum Awards - hosted by Museums Australia (Victoria), is presenting a free public lecture by Antony Robbins, Director of Communication at the Museum of London, to be held at the State Library of Victoria.
For more information on the event please visit the event page<https://msd.unimelb.edu.au/events/digitalglam-symposium>, and follow these links to register for the lecture<https://www.eventbrite.com.au/e/antony-robbins-museum-of-london-public-lecture-tickets-22672077795> and symposium<http://ecommerce.abp.unimelb.edu.au/categories.asp?cID=11&c=7426>.
Interiorities: artistic, conceptual and historical reassessments of the interior
Guest editor: Dr Vlad Ionescu (Faculty of Architecture and Art, Hasselt University, Belgium)
Palgrave Communications is inviting article proposals for a collection dedicated to the theme of ‘Interiority and the Interior’. The collection addresses Interiority as a concept debated by artists and philosophers, historians and sociologists alike. The goal of this
interdisciplinary collection is to approach interiority and the interior as relational entities that interact with architectural spaces, visual arts and music, social and political ideologies, geographical and historical structures. We welcome contributions that address the interior as an opportunity to research the status of the subjectivity in modernity and beyond.
Deadline for article proposals: end of October 2016
Latest deadline for full submissions: February 2017
Article proposals and enquires should be sent to the Managing Editor at email@example.com.
For more information about the collection, please visit:
About open access:
Editors in Chief: Judith le Maire, Axel Fisher
The yearly journal CLARA Architecture/Recherche launches a call for thematic issue to be published in CLARA's 5th volume, expected for September 2017. CLARA Architecture / Recherche is a double-blind peer-reviewed scholarly journal, financially supported by the FRS-(Belgian) Fund for Scientific Research. It attaches a privileged importance to the research methods and tools deriving from the field of architectural design, in particular to original drawings, graphics, and pictures both as means of inquiry and as non-textual support for explanations. Each volume comprises a thematic section of 6 to 8 papers dealing with a clearly identified architectural issue. Each volume comprises a detailed summary and abstracts for the main section's articles.CLARA Architecture / Recherche is published in a 20x25cm format (188 to 232 pages), balck & white, but sometimes includes one to two 16-pages full-color inserts. CLARA Architecture / Recherche pursues an Open Access policy, makig its contents available after a 12 month embargo period after publication.
To apply for this call, please submit a document including :
- A theme : title and short argument for your proposal (300-500 words). The theme may not be built to host conference proceedings, but may the result of encounters, previous studies within a design studio, an office, an administration or an assocition, within the frame of a research project, or beyond any specific institutional frame. This issue of CLARA may also be considered as an opportunity to deal and/or establish a new and fresh working ground.
- Guest editor(s) : Names, short resume (100 words), affiliation, list of 5 main publications. The guest editor(s) shall be responsible for the thematic issue's overall consistency and for the quality of every single contribution. She/he/they may propose her/his/their own original contribution within the issue, or only sign an introductory essay which shall situate the sense and interest of each contribution.
- Contents :In case of anticipated authors, names, affiliations, short resume (100 words), and provisional title for each author. Each proposed contribution should also be presented by its own abstract (300 words), and provisional list of illustrations (type, format and number). Eventually, full papers may already be submitted at the very first stage (20 to 30.000 signs, spaces, footnotes, references and captions included), however no more than 30% of the authors should be affiliated to a same institution. An open call for papers must still be organised and a proposal for the call (app. 500 words) submitted.
Picturing the Nation. Imagining national identities in 19th century art
and architecture in Europe
- international workshop for PhD candidates -
Especially in the light of current political movements in numerous
countries, the 19th century as the "age of nationalism" in Europe
demands further study. Following Stefan Germer's diagnosis that images
are "the decisive means for the creation of national communities", this
workshop for young scholars seeks to investigate phenomena and
strategies of nation building in the arts in the long 19th century. By
both discussing methodological aspects and examining different case
studies, the workshop seeks to reassess constructions of national
identities in Europe in all forms of the visual arts, putting a special
focus on international perspectives.
Though primarily addressing PhD candidates in art history, the workshop
is open to all young scholars who work on similar phenomena.
The two-day workshop will start off with a reading retreat on the
afternoon of July 28. Participants will discuss general and
methodological aspects concerning the construction of national
identities in the arts and its study. Participants' suggestions for
texts to be discussed are encouraged. On July 29, the workshop will
focus on case studies presented by the participants. Presentations will
be held in English and should not exceed 20 min. Presenters will take
turns in chairing each other's presentations. Abstracts of the papers
will be pre-circulated.
Topics of presentations might include, but are not limited to:
- official State representations
- depictions of urban or rural national identities
- creation of national heroes and reinventions of a national past in
- popularization of national topics in prints
- national artists in exile and artists colonies abroad
Submission of proposals:
Apart from providing the applicant's name, institutional affiliation
and short academic CV (max. 100 words), proposals should include a
description of the PhD project (max. 1 000 words) and a short abstract
of the particular topic the applicant would like to discuss in his or
her paper (max. 300 words + title). Applicants may send their reading
suggestions for the retreat along with their proposals.
Thanks to the generous support of the Gießener Hochschulgesellschaft,
accommodation will be provided and travel expenses can partially be
Applicants are asked to submit their proposals by June 19, 2016 to
Deadline for proposal submission: June 19, 2016
Notification of acceptance: June 24, 2016
Deadline for abstract submission (for circulation): July 17, 2016
Date of workshop: July 28/29, 2016
Hosted by Indiana Landmarks and the Miller Beach Arts & Creative District, the event showcases Miller Beach, a lakeside area of Gary that has been a summer haven since early in the twentieth century. The tour begins at 9:30 a.m. Central Standard Time, when shuttles will transport you to the private homes on the tour. During a lunch break, you’ll hear an expert talk about Mid-Century Modern architecture, followed by a tour of the three mid-century churches. The homes and churches on tour were built between 1949 and 1969. The ticket price includes the tour, lunch and shuttle transportation. Riding the shuttle is required.
If you’re making a weekend of it, you may wish to attend a separately ticketed VIP reception and exhibit opening on Friday, August 19, at the Marshall J. Gardner Center for the Arts featuring photography, art, period clothing, and furniture associated with mid-century Miller. Tickets to the exhibit opening and reception are available for $35 from the Miller Beach Arts & Creative District and can be purchased by calling 219.938.6278.
The Digital Humanities have been largely discussed and are currently a well-established branch of knowledge with specific departments and journals. How does all this impact our on-going research projects? This workshop aims at providing concrete answers to specific needs and challenges emerging from projects carried out by master and PhD candidates and post-doctoral researchers. A cluster of qualified international scholars and professionals has been put together to improve and transform our research, through theoretical analysis and technological resources.
Seminars, as well as training sessions, will be organized in a collaborative and interdisciplinary environment to:
- (Re)center the Digital Humanities in questions raised by students,
researchers, scholars and professionals.
- Facilitate the choice of techniques;
- Shape the outcomes trough digital tools.
- Improve information sharing.
See website for the full call for papers.
In recent decades many new studies on the Byzantine world have appeared that have offered us new perspectives on existing views of the Byzantine Empire. Averil Cameron (the keynote speaker of the conference!) has demonstrated in her recent Byzantine Matters (2014) that – although we have made progress in the past few decades – Byzantine Studies is still left with many questions on issues such as Byzantine identity, the Hellenistic influence or our understanding of religious practices and orthodoxy in the Byzantine world.
This conference will take up the challenge of demonstrating that Byzantine Studies is far from dead by showing how the diversities and complexities have made Byzantium into a fascinating world worth of our attention. Both junior and senior scholars from all over the world and from various disciplines and such Byzantine history, art history, literature and archaeology will present their research during this two day conference.
ABE Journal is pleased to announce the release of issue 8 | 2015, available here
This issue's thematic section, guest-edited by Le?la el-Wakil (University of Geneva), is devoted to 'Ornamental Tiles' and includes contributions by Anas Soufan, Antonio Bravo-Nieto and Thibault Bechini.
Founded in 2012, ABE Journal - Architecture Beyond Europe is a scholarly, double blind peer-reviewed journal dedicated to the study of 19th- and 20th-century architecture and urbanism outside of Europe. It focuses primarily on the transfers, adaptations and appropriations of forms, technologies, models and doctrines in colonial and postcolonial situations. Conceived as a place of exchange in an emerging and dynamic field of research, ABE Journal aims to provide a specialist scholarly forum for the discussion and dissemination of ideas relating to architecture in the colonial and postcolonial realms, as well as to local forms of modernism. It publishes articles and contents in five languages (French, English, Spanish, German and Italian) and is edited by the research centre InVisu (CNRS/INHA) in Paris.
Issue 9-10 | 2016 of ABE Journal is due in December 2016 and features a thematic section on 'Dynamic Vernacular', guest-edited by Mark Crinson (University of Manchester).
Specific calls for thematic section papers are regularly open, with their own schedule of deadlines.
Concurrently, we welcome the submission of papers that fit the remit of the journal while being unrelated to specific thematic sections, as well as of new thematic section proposals, at all times.
All submissions should be sent to firstname.lastname@example.org.
Guidelines are available here
Papers will be published in DAKAM's online library and in the proceedings e-book (with an ISBN number), which will be given to you in a DVD box and will be sent to be reviewed in the "Thomson & Reuters WOS' Conference Proceedings Citation Index-CPCI"
ARCHTHEO '16 / X. International Theory of Architecture Conference will be held at Nippon Meeting Halls in Istanbul. The conference is coordinated by DAKAM (Eastern Mediterranean Academic Research Center) and will be organized by BILSAS (Science, Art, Sport Productions).
ARCHITECTURE AND CRITICISM
- Criticism and History of Architecture
- Architectural Criticism, Critical Theory and ‘Critical Architecture’
- Essential Texts on Architectural Theory
- Architect as Author: Texts by the architects
Commenting on Space
- Multidisciplinary Studies on architecture
- A structural relationship between architecture and text
- Traveling, dairies and urban space
- Philosophy and architecture
Book and architecture
- History of architectural publishing
- Book and architecture: Architectural Writing
- Case studies on terminology and points of view
- Definition and concepts by architectural movements or periods
ARCHITECTURE AND CRITICAL APPROACHES
- Design as a Critical Tool
- Architectural History as Critical Practice
- Critical Theory and Space
- Ideology and Architecture
- Architecture and Capitalism
- Reformism and Radicalism
- Architecture and political art
- Controversies, counterparts and confrontations in architecture
(This track is connected to the Critical Approaches Research Direction of DAKAM)
EVERYDAY LIFE AND SPACE
- Everyday life, ideology and culture
- Phenomenology and architecture
- Anthropology, locality and 'low' architecture
- Body, movement and space
- Perception, feeling and space
- Metaphors, symbols and people
- Lives of Buildings
- Public and private life
- Objects and interiors
- The problem of scale in architecture
- Buildings, urban life and environment
(This track is connected to the Everyday Life Research Direction of DAKAM)
3D-modelling on a flat computer screen has revolutionized architectural drawing and representation. It has transformed drawing into spatial script-writing, integrating data sets and blurring boundaries between disciplines and between production modes. Not so long ago, in the 1990s when the computer invaded architectural practice, paperless studios and offices seemed the avant-gardist way forward.
Yet currently, the architectural drawing on paper enjoys a surprising and refreshingly new interest from architects, historians and collectors alike. The digital turn in architecture did not result in the abandonment of paper. On the contrary, the predominance of the digital in contemporary communications and architectural production has elicited the rediscovery of the specific qualities of the old-fashioned architectural drawing and its representation techniques. In architecture schools and museums there is a new interest for sketching, drawing, collaging et cetera as a forgotten tool for observing and analysing.
At the same time, one can see a new productive, transmedial traffic happening between the realms of electronic representation and the paper drawing. Experiments in digital modelling borrow from classic techniques on paper. Contemporary software enables hand drawing on touch screen devices. Annotation software faciliates immediate interaction creating electronic palimpsests. Immersive representation technologies bring about a refocus on the human body and experience.
These new developments raise profound questions concerning the status of the architectural drawing, as a tool for communication, research, design and imagination.
For its third annual conference, The Jaap Bakema Study Centre, in collaboration with TU Delft and Het Nieuwe Instituut, aims to look closer into this new cross-pollination between the media of paper and pixels. We are interested in contributions that bring to the conference a wide variety of perspectives, both historical and theoretical in nature, and which address, but are not limited to the following questions.
What exactly is an architectural drawing today? Can we still talk about clear definitions here, in terms of an object, a medium of representation and communication or a tool to realize an actual building?
Hand drawing comes with a draughts(wo)man. The drawing is a space in which an author appears. We might recognize the handwriting, an individual style. How are authorship and originality reconceptualized in an age of electronic reproduction? What happens when drawings become platforms for interaction between multiple actors, for instance in the case of BIM (Building Information Modelling) software?
How do we keep the new architectural drawings, where do we store them? Why should we keep and store them? Are they proper 'objects' to collect? How will they transform the archive as a space of memory and knowledge (re)production?
How does one exhibit the new drawings? The whole notion of 'exhibiting' seems in need of redefinition here, since the exhibition becomes the staging of a reproduction without original. Can we go beyond the postmodernist notions of simulation and hyperreality to understand the kind of representations we are looking at?
And eventually, if the drawing is the ultimate medium of the architect, how is this transmedial traffic effecting the figure of the architect, his or her role, and the architectural discipline?
Abstracts of 300-500 words plus a short bio (300 words max) should be sent to Dirk van den Heuvel: email@example.com
Deadline: Monday 29 August 2016