Recent Opportunities

  • CFP: Material Culture (Indianapolis, 28-31 Mar 18)

    Indianapolis | Dates: 20 Jul – 01 Oct, 2017

    Material Culture


    The Material Culture Area of the PCA/ACA (Popular Culture Association & American Culture Association) invites proposals for papers to be presented at the 2018 National Conference in Indianapolis, Indiana, March 28-31, 2018.


    The study of material culture offers an exciting area for interdisciplinary research and conversation, as it brings together those engaged in scholarly inquiry in areas as diverse as history, art history, design, decorative arts, cultural studies, consumer studies, literature, communications, anthropology, sociology, and beyond. Of particular interest are papers that address human-made material objects as primary source material for anthropological, geographical, sociological, historical, or area studies; papers that refer to contexts of various sorts in order to determine the origins, functions, or uses of human- made material objects; or methodological papers that theorize and critique “material culture” as a discipline for humanistic inquiry.

    Past presentations in this area have focused on decorative arts and the construction of literary characters; the material culture of poverty; commemorative items; historic and modern furnishings; fashion, branding, and marketing trends; manufactured homes and representations of the translocal… even the design of airport shopping “malls”! Professional academics, graduate students, museum professionals, and independent scholars are all encouraged to apply.

    Considering proposals for sessions organized around a theme, special panels, and/or individual papers. Sessions are scheduled in 1½ hour slots, typically with four papers or speakers per standard session. Presentations should not exceed 15 minutes. Proposals should take the form of an abstract of up to 250 words and must be submitted electronically by 1 October 2017. To submit your proposal, go to / and follow the instructions for creating an account. All submissions must be made through the conference submission site.

    For additional information about the PCA/ACA and its annual conference, visit  Please be sure to select “Material Culture” as the area to which you submit your abstract. Questions or concerns may be sent via email to the Area Chair for Material Culture,

    Heidi C. Nickisher, Ph.D. School of Art -- Art History
    College of Imaging Arts & Sciences | RIT 73 Lomb Memorial Drive
    Rochester, NY 14623-5603
    Office: 585.475.4996 | fax: 585.475-6447

  • WRIGHT there - Exhibition / Sale

    New York | Dates: 20 – 29 Jul, 2017

    WRIGHT there
    lithographs from 1910 Wasmuth folio and
    limited edition prints(1977 & 1980) of drawings from Taliesin archives -Exhibition / Sale

    On view from Thursday July 12-29, 2017
    SPACED:   Gallery of Architecture
    542 Cathedral Parkway (W.110 St- near #1 subway)
    For hours or appointment: (212) 787-6350
    RECEPTION:Saturday July 15& 29 2-5 PM Wednesday July 26 4-8PM
    Thursday July 13 & 20 -4 to 8 PM    
    Judith York Newman- Architect/Director

    A visual journey to the many architectural creations over an amazing span of 56 years beginning in 1901 in Chicago.

    This exhibition  and sale covers a full range of Wright’s career in two formats. The Wasmuth Folio considered an aesthetic treasure trove of the earlier work is a valuable collection of lithographs. Subtle line drawings in brown, gray and even gold ink are convincing evidence of the impact of the Japanese print on Wright’s work. Not only is there a similarity in the sensibility of the design but the composition including the views and placement are strikingly similar.Historic woodcuts from Kyoto are on view as is dinnerware designed for the Imperial Hotel in Tokyo.

    Also apparent is the wide geographic scope of Wright’s work from the early Prairie Houses in Illinois to architecture in Buffalo, Wisconsin, Arizona,  Montana and California. These  color prints are from the Selected Drawings Portfolios.

  • New Buildings in Old Cities: Reconsidering Context in Historic Settings

    Chicago | Dates: 10 – 10 Aug, 2017
    "New Buildings in Old Cities: Reconsidering Context in Historical Settings"  There is an ongoing debate within the preservation and design communities about the most appropriate way to make additions to historical structures or new infill construction in historic districts.  Official regulations like the Secretary of the Interior's Standards for Rehabilitation ask that new work be both "differentiated" and "compatible," but responses to these criteria have varied from close imitation of pre-existing buildings to designs featuring forms and materials in marked contrast to the older ones.  What are the most appropriate approaches that maintain the historic character of a place without unduly limiting the judgement of contemporary designers?  This lecture will suggest some answers based on current international guidance for historic preservation and urban conversation.
  • “Carlo Marchionni and the Art of Conversation: Architectural Drawing and Social Space in Eighteenth-Century Rome.”

    New York | Dates: 03 – 03 Nov, 2017
    Lecture by Tracy Ehrlich
    Friday November 3rd at 1pm

    Lower Level Lecture Hall
    Cooper Hewitt Smithsonian Design Museum
    2 East 91st Street
    New York
  • BITÁCORA 37 / E.R.R.O.R.

    MEXICO DF | Dates: 18 Jul – 01 Aug, 2017
    In contemporary capitalist societies, to err has a negative connotation and is punished. Inevitable as it may be, error cannot be tolerated in the standardized systems of production implemented during the Industrial Revolution. Norms, laws, and other principles regulating human behavior prevent any deviation. However, in studying the history of architecture, it is impossible not to observe that it was precisely the deviations from norms that allowed our discipline to respond to the social and cultural changes occurring in the real world. Without transgressions to the dictates of the academic dictates of the 19th century, the avant-garde and the modern movement could have never existed. Architecture, city, public space, and objects necessary for the survival of modern societies are the result of paths considered erroneous from a conservative point of view.

    The scientific mindset of modernity created the illusion –which today we continue to blindly revere– of any design project; that is to say, a representation of an object completely separated from the world and which we believe, with certain ingenuity, will exist in all its perfection in reality thanks to our obsessive control. In the design project error has no place. When any design project is brought to existence, we inevitably find errors that result from its the contact with the world in which we live. Architecture, urbanism, or design are based on methodical and accurate planning down to the millimeter, however, their built results are, to a greater extent, due to errors, uncertainties, and chance.

    To err also means to wander, to roam aimlessly, in order to, perhaps, discover new horizons. Is it possible for our disciplines to wander outside economic budgets, master plans, paper drawings, and computer renderings? This issue of BITÁCORA seeks to address one of the definitions of erring that can be considered as a virtue of thought, imagination, or attention. --- En las sociedades capitalistas contemporáneas el error tiene una connotación negativa y es castigado. Independientemente de que sea inevitable, la equivocación no se puede tolerar en la cadena de producción implementada a partir de la Revolución Industrial. Las normas, leyes y demás absolutos reguladores del comportamiento humano previenen cualquier desviación. Sin embargo, al estudiar la historia de la arquitectura es imposible dejar de observar que fueron precisamente las desviaciones de las normas las que permitieron que nuestras disciplinas respondieran a los cambios sociales y culturales ocurridos en la realidad. Sin las transgresiones a los dictados de la Academia del siglo XIX, las vanguardias y el movimiento moderno jamás hubiesen podido existir. La arquitectura, la ciudad, el espacio público y los objetos necesarios para la supervivencia de las sociedades modernas son resultado de caminos errados desde un punto de vista conservador.

    La mentalidad científica de la modernidad creó la ilusión –que hasta hoy veneramos ciegamente– del proyecto, es decir, una representación de un objeto completamente separada del mundo, que creemos con cierta ingenuidad, que existirá con toda su perfección en la realidad gracias a nuestro control obsesivo; en él, el error no tiene cabida. Invariablemente, al aplicar el proyecto a la realidad, observamos errores que son expresiones del contacto con el mundo en el que se actúa. La arquitectura, el urbanismo o el diseño se basan en la metódica y exacta planeación al milímetro, sin embargo, deben sus resultados en mayor medida a los errores, las incertidumbres y el azar.

    Errar también significa deambular, andar sin rumbo fijo para, tal vez, descubrir nuevos horizontes. ¿Es posible que nuestras disciplinas divaguen fuera de presupuestos económicos, del proyecto ejecutivo, del dibujo en papel, de las imágenes en las pantallas? En este número de BITÁCORA buscamos reflexionar al respecto de una de la definiciones del errar en la que se le considera una virtud, del pensamiento, de la imaginación o de la atención.
  • Affective Architectures | CFP: Edited Book Collection

    Dates: 17 – 17 Sep, 2017
    A growing literature at the interface of cultural geography and heritage studies theorizes the significance of affect in shaping embodied encounters at ‘places of memory’ (see Sturken 1997 and 2007; Landsberg 2004; Williams 2007; Crang and Tolia-Kelly 2010; Doss 2010; and Sather-Wagstaff 2011 on affect in heritage; and Hoelscher and Alderman 2004; Johnson 2005; Jones 2005; Till 2005; 2006; Legg 2007; Dwyer and Alderman 2008; Hoskins 2007; Azaryahu and Foote 2008; Rose-Redwood, Alderman, and Azaryahu 2008; Hoelscher 2008; and Stangl 2008, on geographies of memory). Moving beyond representational conventions, this scholarship marks an important shift towards the ‘more-than-representational spaces’ (Thrift 2004; Thien 2004; Bondi 2005; Anderson and Harrison 2006; Lorimer 2008) of contemporary memorial design (Heumann Gurian 1995; Yanow 1998; Vergeront 2002; Huyssen 1994 and 2003; Waterton 2014).

    In the late 19th and early 20th Centuries, for instance, dominant modes of memorialization relied heavily on monumentality. This aesthetic and mnemonic genre served to preserve historical memory in place (see Nora 1989). Limits to monumentality came, however, in that as an immobile, static, manifestation of collective memory within the landscape, monumentality did the work of cultural remembering on its own (see Young 1994). Put otherwise: why remember if we have places that do it for us? As monuments became graveyards of collective memory over time, places for memory to live and die, the late 20th Century developed new memorial aesthetics favoring ‘anti-monumentality’ (see Carr 2003).

    Breaking with the rules of traditional memorial design, including figuration, iconography, and doctrinal elements, the anti-memorial favors abstract, spatial, and experiential elements of memorial architecture. This trend prioritizes spatiality and the affective dynamics of memorial design in creating embodied experiences for visitors. As the scholarship acknowledges:

    "Even as background, spaces are evocative. They speak to us. … The settings we inhabit—bedrooms and buses, airports and art galleries playgrounds and pubs, museums and mosques—shape us as much as we shape them" (Vergeront 2002: 8 and 12).

    "Built spaces are at once storytellers and part of the story being told. As storytellers they communicate values, beliefs, and feelings using vocabularies of construction materials and design elements. … In this way [museum] spaces are both medium and message" (Yanow 1998: 215).

    "[T]hinking about the spaces of heritage means shifting from the static ‘site’ or ‘artefact’ to questions of engagement, experience and performance. … These are all multi-sensual sites, alive with intense and often lingering sounds, smells, and sights" (Waterton 2014: 824 and 830).

    Although monumentality has never been fully abandoned in western practices of memorialization, this shift towards 'affective heritage' (Micieli-Voutsinas 2016) has become commonplace in post-modern memorial architecture (see Heumann Guriun 1995; Linenthal 1995; Huyssen 2003; Savage 2009).

    Unlike its mnemonic predecessors, affective heritage relies less on authoritative narratives and official rhetoric to shape and sustain meaning at commemorative sites. In affective heritage, the impetus is for visitors to feel meaning as it is produced through embodied encounters with and within memorial spaces. As Waterton understands,

    "[N]arratives of affect are mediated in affective worlds that shape their receptions, tapping into everyday emotional resonances and circulations of feelings… … which means understanding heritage as a complex and embodied process of meaning- and sense-making" (2014: 824).

    This is not to say that institutional narratives are irrelevant to, or ineffective in shaping visitor expectations. Rather, affective heritage mobilizes embodied experiences in relation to memorial dogma to produce a kind of ‘feeling truth’ for visitors. This is especially true at sites commemorating traumatic pasts. Here, the more-than-representational spaces of memorial and museal landscapes are vital to representing that which is 'unrepresentable' and unknowable: trauma itself (see Freud (1920-22) 1955; 1939; Felman and Laub 1992; Caruth 1995; 1996; Brown 1995; LaCarpa 1996; 2001).

    This call for papers seeks to assemble a conversation among critical scholars interested in more-than-representational ways of engaging with places of memory and memorialization. Paper contributions grounded in theoretical, methodological, and experiential approaches are welcome. Some themes include, but are not limited to:

    ~ heritage architectures
    ~ performativity and spatial narratives
    ~ critical museum studies and space
    ~ hauntings, ghosts, and deathscapes
    ~ thanatourism and heritage economies
    ~ navigating emotion, embodiment, and subjectivity
    ~ methodological approaches
    ~ ethical dilemmas

    Submissions: Please submit expressions of interest outlining your proposed paper in no more than 350 words by email to Jacque Micieli-Voutsinas ( and Angela M. Person ( before September 17th 2017. Accepted manuscripts will be due by July 2018 and should be no more than 6000 words, including references and notes.
  • Ninth Annual Anne d’Harnoncourt Symposium THE MUSEUM AND THE CITY

    Philadelphia | Dates: 08 – 09 Sep, 2017
    Co-organized by the Philadelphia Museum of Art and the Department of the History of Art, University of Pennsylvania

    September 8-9, 2017

    Anne d’Harnoncourt, director of the Philadelphia Museum of Art from 1982 to 2008, believed passionately that museums must be active global and local citizens. This conference will bring together important museum leaders, civic leaders, artists, and architects to discuss how museums can serve the vibrant and diverse civic life that we want in the 21st century. Keynote address by Tod Williams and Billie Tsien. (Tickets required for Keynote) For more information and to register, visit:
  • CFP: JAE Volume 72 Issue 1

    Dates: 13 Jul – 01 Aug, 2017
    Issue 72:1 of the Journal of Architectural Education seeks Design as Scholarship and Micro-Narratives that critically examine and expose the project and projection of architecture as a tool for thinking. Please note, this issue is not accepting scholarship of design. Deadline: August 1, 2017
  • Driehaus Symposium: Human Perception & The Built Environment

    Chicago | Dates: 30 – 30 Sep, 2017

    For more information, please visit
  • Research Network: Architecture and Society in an Age of Reform

    Liverpool/Bristol/Birmingham | Dates: 13 – 31 Jul, 2017

    Liverpool / Bristol / Birmingham

    Deadline: Jul 31, 2017

    We are delighted to announce the launch of a new AHRC-funded international research network on Architecture and Society in an Age of Reform, which aims to establish a dynamic, long-lasting, multi- and interdisciplinary research forum to investigate the relationship between architecture and society in the period 1760-1840.

    As part of the project we will be holding three workshops:
    Liverpool (19-20 September 2017)
    Bristol (16-17 March 2018)
    Birmingham (date t.b.c., June 2018)

    Each workshop will focus on the same broad set of research questions, with site visits on the first day designed to stimulate discussion on the second day. The broad sets of questions we will be exploring


    User experience.
    How can we reimagine the experience of building users?
    What can diaries, letters and literary evidence tell us?
    (How) can we use digital methods to recreate experience?

    Patronage and knowledge.
    How were buildings funded and what is the relationship between funding and form?
    How can we use the archival evidence resulting from patterns of patronage (legislation, subscription lists, contracts etc)?

    Radical and conservative architecture.
    How could and did architecture offer ways to contest, reform and reimagine society and/or maintain and strengthen existing structures?
    How can we use treatises, pattern books and other sources to identify different architectural discourses and different approaches to the use of space?

    New and reimagined building types.
    What do building forms tell us about contemporary understanding of their functions?
    How did architecture shape knowledge?
    How can we use surviving buildings and other non-textual sources as evidence?
    What are the most effective ways of engaging the wider public in this research?  

    Site visits

    The first day of each workshop will be dedicated to site visits, which are designed to stimulate new insights about the relationship between architecture and society in an Age of Reform. All travel will be arranged in advance, and network organisers will provide fact sheets for each site so that we can think about the buildings with the basic information at our fingertips.     

    Panel formats

    The second day of each workshop will be dedicated to focussed discussion designed to respond to the venue visits, to share ideas about the network's key research questions, build research collaborations and identify potential research themes for future research. We will adopted a blended format designed to stimulate discussion, including the following formats:

    5 minute speed-dating introductions to research spotlight sessions on local research institutions and heritage partners keynote papers roundtable discussion breakout   

    Call for expressions of interest

    The project team invites initial expressions of interest from scholars interested in any element of the Architecture and Society research programme. If you feel you can make a significant contribution to any or all of our workshops, please send a brief summary of your research interests and career stage to the Principal Investigator

    ( by 31 July 2017. The AHRC has generously provided funding to support a limited number of participants' UK travel and accommodation expenses.

  • The Afterlife of Fascism: The Reception of Modern Italian Architecture and Urbanism

    Dates: 12 Jul, 2017 – 15 Jun, 2018
    Nearly 75 years after the regime’s end, questions about the built legacy of Italian Fascism continue to provoke polemic responses and questions. Mussolini’s government constructed thousands of new buildings across the Italian peninsula, islands, and in the colonial territories of North Africa. From government buildings, hospitals, and post offices to stadia, housing, summer camps, Fascist party headquarters, and ceremonial spaces, the physical legacy of the regime maintains a presence in nearly every Italian town. Infrastructure projects such as roads, railways and bridges bear the imprint of Fascism: manhole covers of sewer systems in small towns across Italy are still marked by the regime’s insignia today. In some areas, such as the Pontine marshes and Asmara, Eritrea, the regime built entirely new quarters or towns as part of land reclamation projects and its colonial agenda.

    Histories of Italian architecture and urbanism have documented and examined the vast body of work constructed by the regime. Scholars have debated whether these works of architecture remain worthy of study due to their remarkable form alone, because they satisfactorily symbolize a body of ideas, or both? Moreover, scholars have deliberated whether the political intention and physical form can be separated; that is, can a great fascist building be valued as art abstracted from the ideology that produced it? How do we make sense of the role of the architects who worked for the regime? Was the architect the source or merely the conduit of political and often poetic architectural expression? While these debates persist and continue to inspire scholarship about modern Italian architecture, a new dilemma has surfaced: what to do with these political constructions as they age and in the wake of change? How are they envisioned by their current constituents and citizens, and what is their destiny?

    The Afterlife of Fascism will investigate what has become of the architectural and urban projects of Italian Fascism; how have sites been transformed or adapted; and what do these sites mean today? We invite submissions that examine the afterlife of fascist architecture through studies of destruction, adaptation, debates over re-use, artistic interventions, and even routine daily practices, which may slowly alter collective understandings of a site. The volume will consider whether these structures and their material remains embody or retain some essence of the defeated political movement or, in contrast, whether they stand as reminders of the fragility of the connection between meaning and architectural form.

    Questions for consideration may include:
    • How do changes in the constructed landscapes of Fascism reflect evolving relationships among national identity, political authority and the physical landscape?
    • What happens when the modernity of fascist architecture becomes historicized alongside the monuments of popes and emperors, when modernity becomes part of tradition, or when the avant-garde becomes subject to historic preservation?
    • What do fascist constructions mean to the generations of Italians whose experience of the regime is limited to history textbooks and ancestral tales? How do the meanings of these sites change when they no longer have the power to conjure memories of the regime?
    • What do instances of preservation, adaptation or indifference to fascist sites tell us about the nature of the connection between political authority and place?
    • How does political power operate through design at scales ranging from domestic design to infrastructure? How, for example, did the constructions of fascism shape Italian culture through spatial practices? Can spatial practices be divorced from the original political intentions? Or do daily rituals shaped by the constructed spaces of fascism still bear witness to the intentions of the regime decades later?
    • After the fall of the regime, how were connections between architecture and politics renegotiated in the service of postwar political agendas? How, for example, did debates over what was fascist, anti-fascist, or Italian revise stylistic associations? How was history revised and/or redacted to serve new purposes in the postwar era?
    • How did those architects associated with fascism rewrite their own histories through design or activism in the postwar era?

    Through a critical history of the reception of fascist-era architecture and urbanism, The Afterlife of Fascism seeks to broaden our understanding of the relationships between politics and place. It aims to build on histories of the reception of politically charged sites in the modern era, which highlight how interventions, practices, and events have altered meaning even as physical forms often remain. Scott Sandage, for example, traces the evolution of our collective understanding of the Lincoln Memorial from a site intended to commemorate the preservation of the Union to one that associates Lincoln with emancipation and memorializes the civil rights movement. In Ghosts of Berlin, Brian Ladd analyzes the debates surrounding the many politically charged sites of Berlin and brings to light how the memories of each era in the city’s modern history are reflected and constructed through debates over meaning, use, and form. Kristin Ann Hass’s Carried to the Wall considers how the meaning of the Vietnam War was negotiated through the reception of the Vietnam Wall through an analysis of the objects left at the wall. In doing so, she reminds us of the power of individuals, ordinary people, to engage in these contests over meanings and of place.

    We invite papers on fascist architecture and urbanism that contribute to this discourse on reception through studies of the negotiations among politics, identity, memory, and place. Interested authors should submit an abstract of 400-500 words and a C.V. to co-editors Kay Bea Jones ( and Stephanie Pilat ( by Monday, October 16th, 2017. Decisions will be made by December 2017. Papers of 4,000 – 8,000 words will be due on June 15th, 2018. Papers from accepted abstracts will undergo peer-review before publication.
  • ACLS Announces New Getty/ACLS Postdoctoral Fellowships

    Dates: 11 Jul – 25 Oct, 2017

    This is the time of year that the American Council of Learned Societies opens applications for numerous grants, fellowships, and postdocs.  Many have deadlines coming up so visit the competitions page of their website.

    Also this year ACLS is pleased to announce a new fellowship program, Getty/ACLS Postdoctoral Fellowships in the History of Art. Architectural history topics are eligible as long as they make a contribution to art and its history and focus on significant visual studies components. These fellowships will support emerging leaders in the field of art history whose projects broaden the understanding of art and its history. The program is made possible by a major grant from the Getty Foundation.
    The program, the first such partnership between ACLS and the Getty Foundation, succeeds the Foundation’s earlier postdoctoral fellowship program that named its last fellows in 2009. The new awards are designed to support emerging scholars in carrying out ambitious and innovative research projects. The fellowships are fully portable, allowing fellows significant latitude to visit the places necessary to conduct their research.
    “We are thrilled to partner with the Getty Foundation to advance the research of talented, early career scholars,” says Pauline Yu, president of ACLS. “This fellowship program will highlight the most dynamic approaches in art history scholarship.”
    The program is open to scholars of all nationalities whose work engages with art history, and whose PhD has been conferred between September 1, 2012, and December 31, 2016. Applications can be from scholars working in any humanistic discipline, provided that their research draws substantially on the materials, methods, and/or findings of art history.
    “We look forward to working with ACLS on the reinvention of our postdoctoral fellowship program,” said Deborah Marrow, director of the Getty Foundation. “We have missed this program since its conclusion in 2009 after 25 years, but there are new opportunities now, building on the Foundation’s international work and the long experience of ACLS in managing fellowship programs in the humanities. Support for the best emerging scholars is vital to the future of art history.”
    ACLS will award up to 10 Getty/ACLS Postdoctoral Fellowships in 2017-18, which will be the first of three competition years. Fellowships will support an academic year of research and writing to be taken during the subsequent academic year. Awards carry a stipend of $60,000 as well as $5,000 for research and travel costs during the award period, and also will include a one-week residence at the Getty Center following the fellowship.
    Proposals must be submitted through ACLS’s online application system, which will begin accepting applications in early August. Further information about the program and eligibility criteria is available online at The application deadline is October 25, 2017.

  • CFP - Historians of Islamic Art Association Biennial Symposium “Border Crossing” Yale University October 25-27, 2018

    Dates: 25 – 27 Oct, 2018
    Call for Papers Historians of Islamic Art Association Biennial Symposium
    “Border Crossing”
    Yale University
    October 25-27, 2018

    The 2018 HIAA symposium will bring together an international group of established and emerging scholars of Islamic art and architecture to present new research on the theme of “Border Crossing.” Very often the field has been defined as one centered on select regions of the Middle East, South Asia, and Central Asia, and focusing on traditional media and categories, such as the decorative arts, manuscript studies, and architecture. Less attention has been paid to regions on the so-called peripheries, including, for example, Southeast Asia and sub-Saharan Africa, or to disciplines that are not often associated with the field, such as film and anthropology. “Border Crossing” is an invitation to rethink the field of Islamic art and architecture by interrogating the ideas of translation, transmission, and transgression that are suggested by the theme. Among the questions that may be asked are: How can this lens help us rethink works that form the “canon” of Islamic art? What is at stake in crossing disciplinary borders? What is lost and what is gained in abandoning traditional academic parameters? What may be learned through literal border crossings, whether they are by conservation authorities or refugees? As the works of several contemporary artists show, border crossings are ultimately ethical positions taken to evince the human condition itself. They thus provide potential to rethink the arts and cultures of the Islamic world, as well as the ways in which we study them today.
    There are three categories of submission: Pre-arranged panels (4 papers and a discussant); individual papers; graduate student papers. Please submit your abstract/s and a brief curriculum vitae to by September 7, 2017.

    The 2018 Symposium Committee:
    Christiane Gruber
    Yael Rice
    Kishwar Rizvi
    Ünver Rüstem
  • CFP: Zwinger & Schloss – Augustus the Strong’s Dresden Residence in a European Context (1694-1733)

    Dresden | Dates: 06 – 28 Jul, 2017

    The Saxon elector Frederick Augustus I (1670/1694-1733), King of Poland from 1699 and better known as Augustus the Strong, invested considerable effort in modernizing his palatial buildings in the center of Dresden. The so-called Dresden Zwinger, a sumptuous, architecturally enclosed showground, and the Taschenbergpalais, residence of his mistress, the Countess of Cosel, still bear witness to this grand-scale, though ultimately unfinished, project. In Dresden’s archives numerous valuable plans and sketches provide evidence of the project’s complex planning process and this material is currently being catalogued and examined as part of a research project at the TU Dresden. An international conference is planned to present the results of this project and to take a look at the wider historical and art-historical context of the Dresden palace plans. At the same time, the conference will continue an exploration begun at a Dresden symposium in 2015 dealing with the planning of the Japanisches Palais, the last of Augustus the Strong’s palatial projects in Dresden. As a cooperation partner, the Rudolstadt Working Group for Residential Culture is offering its interdisciplinary expertise in support of the conference. Following his ascent to the Polish throne, Augustus the Strong felt that his original residence in Dresden should architecturally reflect his new status. The majority of his extensive plans never progressed past the planning stage, however, including the renovation of the palace, which was supposed to form an architectural ensemble, together with the Zwinger. The planning process could be characterized as a dialog between the royal client, with his passionate interest in architecture, and the Dresden court’s master builder, Matthäus Daniel Pöppelmann (1662-1736). Of course other voices made themselves heard as well, including leading members of the principality’s civil building authority as well as court officials and policy makers. The project encompassed elaborate facades, triumphal gateways, the arrangement of ceremonial and private apartments for the sovereign and his court, event and museum spaces for official use such as dining and gaming rooms, theaters, a palm gaming hall, an animal hunting arena and a riding school with royal stables and showground. It foresaw, as well, the construction of a palace garden including an orangery which, following a series of concept changes, evolved into the Zwinger court. The orientation of the palace construction efforts apparently oscillated between a regional, traditional conservatism and a European-international focus. Research on the Dresden palace plans is part of the art history project “Matthäus Daniel Pöppelmann (1662-1736): plans for the electoral palace and the Zwinger in Dresden – planning and building in the ‘modus Romanus,’” funded by the Fritz Thyssen Foundation for Scholarship and carried out at the Institute for Art and Music at the TU Dresden. Analyses of the project’s results are to be based on a variety of topics and methods, including planning and construction chronologies, geneses of type and motif, culture transfer, palace research, architectural semantics as well as questions pertaining to medium and performance in representational architecture. Taking the Dresden palace plans as a case study, historians, art historians and cultural studies scholars are invited to participate in the discussion from other perspectives and contexts. In addition to fundamental questions concerning the possibilities of baroque representation in architecture, interior design and landscape architecture as well as questions related to medium, other disciplinary approaches are encouraged. Political history, historical sociology, cultural transfer, palace culture, court ceremony, music and theater are valuable fields of inquiry in this context.

    Financed by the foundation Fritz Thyssen Stiftung für Wissenschaftsförderung

    Preferred topics are:
    Dresden Residence:
    – History of its concept, construction and furnishings
    – Architectural and interior design iconography
    – Functional, ceremonial and sociological aspects
    Architectural typology of palaces and palace construction (ca. 1700):
    – In the Holy Roman Empire
    – Within the Saxon-Polish union
    – In Europe
    Relationship between Saxony and Prussia (neighbors and/or competitors)
    Court planning and construction organization 
    Adaptation methods and means of model-based design 
    Questions of medium and performance in palace architecture 
    Courtly spatial planning and spatial manifestations of authority 
    Cultural transfer

    The conference begins on Thursday midday and continues until midday on Saturday.

    Those interested are invited to present a talk at the conference. Presentations are limited to 30 minutes. Please e-mail an abstract (max. 400 words) and brief CV summarizing important publications related to the conference topic by July 28, 2017. Invitations will be sent in mid-August.

  • CFP: Home Comforts: The Physical and Emotional Meanings of Home in Europe,1650-1900

    Manchester | Dates: 06 – 10 Jul, 2017
    Home Comforts: The physical and emotional meanings of home in Europe,1650-1900
    Manchester Metropolitan University, 5-6 October 2017

    Speakers include: Hannah Barker, University of Manchester; Johanna Ilmakunnas, University of Turku; Eleanor John, Geffrye Museum

    Home is widely recognised as a place of emotional attachment, often expressed and articulated through material objects which lie at the heart of attempts to uncover what made a house into a home. One important aspect of this is the notion of comfort, both in a physical and emotional sense; yet comfort is a relative term, its fulfilment dependent upon a wide range of economic, social, cultural, environmental and psychological factors – from wealth to the weather, and from family to fashion. This conference aims to explore the wide range of ways in which ideas and ideals of comfort were expressed in and through the home; how these changed over time and space, and whether it is possible to identify a European conceptualisation of home and comfort.

    We welcome papers on any aspect of home and comfort in Europe from the early modern period to the present day, but we especially look for contributions that seek to address the following:

    Furnishing the home: easy chairs, bedrooms, textiles, etc.
    Emotions and comfort in the home/family
    Changing technologies of domestic comfort
    Ideal homes: design, comfort and convenience
    National or European: comparative perspectives on home and comfort
    Comfort and domestic service
    Souvenirs and heirlooms: the comforts of memory
    Comfort and cleanliness

    If you would like to present a paper, then please send a title and 200 word abstract to Prof Jon Stobart: by 10 July 2017.
  • 2017 Firm of the Year & Dubin Family Young Architect Awards

    Chicago | Dates: 06 Jul – 13 Sep, 2017


    The AIA Chicago Firm of the Year Award was established in 1991 to recognize outstanding achievements and excellence in the body of work produced by a firm over a period of time, and the ongoing contributions of the firm to the advancement of the architectural profession.

    Winners are recognized at Designight and in Chicago Architect magazine. 

    Firm principal(s) must be a member of AIA Chicago. Successor firms may be considered, as long as the collective body of work presented is that of a majority of the remaining principals.

    Submissions are being accepted now until September 13, 2017. You can review guidelines here, including submission requirements. 


    AIA Chicago’s Young Architect Award was established in 1983 to recognize excellence in ability and exceptional contributions by Chicago area architects between the ages of twenty-five and thirty-nine. In 2003, the Young Architect Award was renamed the Dubin Family Young Architect Award. Thanks to the generosity of the late M. David Dubin, FAIA, his family and friends, this award has been endowed with a cash prize. This award is administered by the AIA Chicago Foundation.

    Submissions are being accepted now until September 6, 2017. Review guidelines here.

    You may also visit the AIA Chicago offices to view past winning submissions (35 East Wacker Drive, Suite 250). Call ahead to let us know you'd like to come by! 312.376.2710

  • Demystifying Fellowship

    Chicago | Dates: 19 – 19 Jul, 2017

    Learn all about the AIA College of Fellows and the process of nomination to Fellowship from Linda Searl, FAIA (Searl Lamaster Howe Architects).

    Fellowship was developed to elevate those architects who have made a significant contribution to architecture and society and who have achieved a standard of excellence in the profession. Election to Fellowship not only recognizes the achievements of the architect as an individual, but also honors before the public and the profession a model architect who has made a significant contribution to architecture and society on a national level. The presentation will explain the nomination, application, and review process.

    All are welcome to attend, regardless of current eligibility status, and learn about the road to this achievement.

    Refreshments will be served.


    AIA Chicago




  • Call for Volunteers: I-NOMA Project Pipeline Summer Camp

    Chicago | Dates: 06 – 30 Jul, 2017

    Our volunteers come from all sorts of backgrounds to give their time for a good cause! We value volunteers with different skills, experiences, and educational achievements. Though it is strongly recommended that volunteers be available for all four days of the camp, volunteers who can not attend the entirety of the camp will still be considered. Eligible volunteers include:

    • College graduates

    • College students

    • Volunteers who have retired and want to mentor future generations

    • Volunteers looking to build experience and professional connections

    • Volunteers with interest in mentoring youth

    • Volunteers with experience or interest in the design professions

    • Employer supported or sponsored volunteers

    In each case, you will need to be prepared with the following requirements to get the most from your volunteering.

    Take a look at the various levels of volunteers on the list below and decide where you fit, then include your level on your registration form.


    Requirements:  Must be a practicing Architect/Engineer
    Duties: Leads a table of 7 students and two mentors through all the activities of the day.
    Must be available for the hole duration of the camp (4 days)
    Must attend a brief training seminar to review exercise and solutions.



    Requirements:  Practicing Architect/Engineer
    Duties: Assists the Lead Mentor or temporarily substitutes for a Lead Mentor.   
    Must be available to attend at least one full day.


    Requirements: College Student of architecture or engineering
    Duties: Assists the Lead Mentor throughout the camp activities, focuses on one child; specifically timid children, or children who may need additional assistance.
    Must be available to attend at least one full day.


    Requirements: Former ACE Student or similar education    
    Duties: Assists the Lead Mentor in running quick errands for additional supplies or also focusing one student who may need additional attention.  
    Must be available to attend at least one full day.

  • This Future Has a Past

    New York | Dates: 25 Jul – 12 Sep, 2017

    This Future Has a Past

    July 25–September 12, 2017
    Margaret Helfand Gallery

    Center for Architecture, New York

    Anyspace will launch its exhibition program on Tuesday, July 25, 2017, with “This Future Has a Past,” a look at architect Gregory Ain originally created by Katherine Lambert and Christiane Robbins for a collateral exhibition at the 15th International Venice Architecture Biennale. 

    “This Future Has a Past” presents a single work by the late California architect Gregory Ain – his Exhibition House for America's middle class, the second house to be built in the garden of the Museum of Modern Art, in 1950 – alongside documentation of his “un-American activities” collected during the McCarthy era. J. Edgar Hoover deemed Ain “the most dangerous architect in America.” The fate of Ain’s Exhibition House after the show closed is still unknown. Archival FBI files and MoMA press documents, a newly constructed model of the 1950 Exhibition House, and a series of lenticular images created by Lambert + Robbins call attention to this little-known bi-coastal architectural history.

  • 2017-18 Arcus/Places Journal Prize

    Dates: 06 Jul – 15 Aug, 2017

    The biennial prize is a unique collaboration between the Diversity Platforms Committee of the College of Environmental Design at UC Berkeley and Places. Established in 2014 to support innovative public scholarship on the relationship between gender, sexuality, and the built environment, the award is funded by College of Environmental Design’s Arcus Endowment, launched in 2000 with a generous gift from the Arcus Foundation.

    The prize is open to mid-career or senior scholars. The winner will receive an honorarium of $7,500 to produce a major work of public scholarship for Places and present a related lecture to be given in the College of Environmental Design.

    Applications will be accepted until August 15. For more details and full application requirements, see the competition guidelines.


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