Recent Opportunities

  • M+ / Design Trust Research Fellowship 2017

    Hong Kong | Dates: 16 Jun – 22 Jul, 2016
    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. Eligibility 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. Stipend 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 For the application form and further information, visit About M+ 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.
  • Occupy: Public Space and Graphic Satire

    Dates: 14 – 30 Jun, 2016
    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
    ( and Dominic Hardy ( 

    The list of accepted proposals will be established in mid-September, with final texts to follow by February 15, 2017.
  • Architecture as Evidence

    Montreal | Dates: 16 Jun – 11 Sep, 2016
    *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.
  • EXTRA-ORDINARY: New Practices in Chilean Architecture

    New York | Dates: 22 Jun – 03 Sep, 2016
    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
  • Digital GLAM: Galleries, Libraries, Archives & Museums

    Melbourne | Dates: 14 – 15 Jul, 2016
    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.

    Keynote speakers:

    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<>, and follow these links to register for the lecture<> and symposium<>.
  • CFP: Interiority and the Interior (Palgrave Communications)

    Dates: 13 Jun – 31 Oct, 2016
    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

    For more information about the collection, please visit:

    About open access:
  • Call for Thematic Issue: CLARA Architecture/Recherche

    Dates: 13 Jun – 17 Jul, 2016
    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.
  • CFP: Picturing the Nation: Imagining National Identities in 19th Century Art and Architecture in Europe (Giessen, 28-29 Jul 16)

    Giessen | Dates: 13 – 19 Jun, 2016
    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.

    Workshop program:

    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 
    the arts
    - 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

    Important dates:

    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
  • Lake Michigan Modern: Miller Beach

    Gary | Dates: 20 Aug, 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.
  • CFP: Explorations in the Digital Humanities (Lisbon, 6-9 Sep 16)

    Lisbon | Dates: 10 Jun – 10 Jul, 2016
    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.
  • Byzantine Studies Alive

    Nijmegen | Dates: 16 – 17 Jun, 2016
    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 - Architecture Beyond Europe Issue 8 | 2015

    Dates: 09 Jun – 01 Dec, 2016
    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
    Guidelines are available here.
  • CFP: ARCHTHEO '16 / 10th International Theory and History of Architecture Conference (Istanbul, 27-29 Oct 16)

    Istanbul | Dates: 09 Jun – 22 Jul, 2016
    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).


    TRACK 01:

    - 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

    TRACK 02:

    - 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)

    TRACK 03:

    - 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)
  • CFP: Between Paper and Pixels. Transmedial Traffic in Architectural Drawing (Delft/Rotterdam, 30 Nov-1 Dec 16)

    Delft and Rotterdam | Dates: 09 Jun – 29 Aug, 2016
    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: Deadline: Monday 29 August 2016
  • East-West Center 2016 New Generation Seminar Now Accepting Applications

    Honolulu/Phnom Penh/Yangon | Dates: 18 Sep – 01 Oct, 2016
    Dates: September 18-October 1, 2016
    Theme: Cultural Heritage and Identity in a Globalizing, Urbanizing World
    Destinations: Honolulu, Hawaii; Phnom Penh, Cambodia; and Yangon, Myanmar
    Application Deadline: Thursday, June 16
    Program: Now in its 26th year, the New Generation Seminar is an intensive two-week study, dialogue and travel program that provides the next generation of Asia Pacific and American leaders an opportunity to strengthen their understanding of key Asia-Pacific developments, discuss policy options for common challenges, build an international network, and become leaders with a more international perspective. The first week of the program is held in Hawaii and focuses on key regional policy issues such as international relations, security, economics, population, health and environment. The second week involves field travel to either the United States or Asia Pacific for exploration of the program theme. Please see write up below for details about this year’s theme.

    Who can apply: The New Generation Seminar seeks to engage young leaders aged 25-40, from Asia Pacific and the United States who are in a position to influence policy, shape public opinion and lead action. The strongest candidates for the program will be elected officials and other political, business, law and community leaders or communicators with broad-based policy knowledge and influence and/or demonstrated leadership in their countries and communities. Social and business entrepreneurs also make strong candidates. 

    Funding: Through East-West Center and private funding, up to 14 selected candidates will be offered full or partial funding. Full funding would cover air and ground travel as well as modest meals, lodging and program-related expenses during the two-week program. Participants will be responsible for their own visa fees and visa related expenses, travel/health insurance and personal incidentals. Cost sharing by applicants is strongly encouraged and will be an important consideration for the Selection Committee.
    The East-West Center is an internationally recognized independent nonprofit organization established by the US Congress in 1960 to promote better relations and understanding among the people and nations of the United States, Asia and the Pacific through cooperative study, research and dialogue. For more than half a century, the East-West Center has been training global leaders, informing policymakers, advancing education and promoting international understanding in the Asia Pacific region around critical issues of regional and global importance.
    For full information about the program and how to apply please visit:

    EWC Contact: Ann Hartman,; 808-944-7619
    26th NGS Theme: Cultural Heritage and Identity in a Globalizing, Urbanizing World
    Over the past 20 years, the increasing pressures of intensive urbanization, globalization and a trend toward modernization have been threatening cultural and architectural heritage around the world. In many urban areas, the legacy of the past is rapidly disappearing. In October 2016, global leaders will meet at the UN international Conference on Housing and Sustainable Development (Habitat III) to create a new urban agenda for the world, and, for the first time, issues of cultural heritage and its importance to cities will be part of the agenda. There is growing recognition that cultural heritage and architecture can be a key resource and asset for building sustainable, livable, and dynamic cities, with evidence that conserving unique heritage can bring significant economic value through tourism and creative industries. Beyond that, it also plays an important role in fostering national and local pride and a sense of identity for its residents. In communities across the world, but especially in rapidly modernizing and globalizing developing countries, government leaders and officials are expressing a strong interest in placing culture at the core of development strategies, to consider what is important to keep for future generations before it is lost forever. But doing this is not easy as leaders must also meet the enormous pressures to provide efficient infrastructure, housing, sanitation, commercial development and jobs for their communities.  
    The 2016 NGS participants will explore the role of cultural heritage in economic development, urban planning, tourism, and in preserving and promoting a sense of local and national identity through meetings and visits with leaders and policymakers, private sector representatives, civil society organizations, academic experts and practitioners in Honolulu, Phnom Penh, and Yangon. Honolulu will provide an example of a US city struggling to preserve its local identity and culture in its tourism development and as it upgrades its aging infrastructure and revitalizes its urban core. Phnom Penh and Yangon represent common challenges in developing nations of rapid urbanization, a need for development and threats to preserving their urban culture, including both colonial and post-colonial architectural heritage. Both are at a critical juncture in their development strategies. Phnom Penh is on a rapid growth trajectory after many years of war and internal conflict; Yangon is emerging from decades of economic and social isolation with a new democratically elected government. All three cities must manage break-neck growth, provide infrastructure and services to growing populations, attract outside investment and industry, and manage burgeoning tourism, while trying to figure out how to maintain and preserve that which represents and can foster their sense of national identity, culture and place.
  • Women, Art, and Social Change: The Newcomb Pottery Enterprise

    Nashville | Dates: 29 Jul – 07 Nov, 2016
    The Frist Center for the Visual Arts presents Women, Art, and Social Change: The Newcomb Pottery Enterprise, the largest and most comprehensive exhibition of Newcomb arts and crafts in more than a quarter century. Created and organized by the Newcomb Art Museum, Tulane University, and the Smithsonian Institution Traveling Exhibition Service (SITES), the exhibition is making the final stop of its nine-city tour at the Frist Center. The public opening on July 29 will be celebrated with a lecture by the distinguished Newcomb Pottery authority Sally Main, former senior curator at the Newcomb Art Museum, and a special Frist Friday concert of New Orleans music. 
    Newcomb pottery is one of the most significant of all American art potteries, critically acclaimed and highly coveted. With more than 180 works that span 45 years of production (1895–1940), Women, Art, and Social Change offers new insights into the Newcomb community’s enduring mark on American art and industry. The exhibition examines the role played by H. Sophie Newcomb Memorial College, Tulane University’s coordinate institution for women, in promoting art for the advancement of women and, in turn, New Orleans’ business and cultural communities, which were still struggling from the effects of the Civil War. 
    “Women, Art, and Social Change brings together a variety of objects created during the lifespan of the Newcomb enterprise,” explains Sally Main. “The finest examples of the pottery art form will be displayed alongside pieces that will come as a revelation to many—not only a rich variety of crafts but also photos and artifacts that breathe life into the Newcomb legacy.”
    What began as an educational experiment flourished into a quasi-commercial venture that offered unprecedented opportunities for Southern women to support themselves financially during and after their training as artists. “When seen against the backdrop of social history, which this exhibition emphasizes, these beautiful works of art and the women who made them appear even more remarkable,” observes Frist Center curator Trinita Kennedy. The Frist Center’s presentation will include an educational component that demonstrates production techniques employed by Newcomb potters and decorators through a series of in-progress vessels made by Nashville ceramicists Danielle McDaniel, co-owner of the Clay Lady Studios, and Lyndy Rutledge. 
    Many works of the Newcomb Pottery enterprise were inspired by the native flora and fauna of the Gulf South, a distinctive hallmark that made them immediately recognizable and popular with collectors, curators and tastemakers across the country. This exhibition features iconic examples of the pottery, including a majestic daffodil motif vase by Harriet Coulter Joor recently acquired by the Newcomb Art Museum, and jewelry, such as the silver and moonstone necklace attributed to Mary Williams Butler, the head of Newcomb’s metalwork department, along with textiles, metalwork, bookbinding, works on paper, and other historical artifacts.
    Please see the attached press release for a listing of public programs associated with this exhibition or read it online
  • Mason City Architectural Walking Tours

    Mason City | Dates: 04 Jun – 24 Sep, 2016
    Explore Mason City’s treasured Prairie School architectural heritage. See the largest grouping of such homes on a unified site, ending at a home designed by Frank Lloyd Wright in 1908, his first in Iowa.

    To book a tour for your class/group please call 641-421-3666 or email at least two weeks in advance so we have time to schedule you a docent.

    Scheduled tours are seasonal and take place every Saturday at 9 a.m. (for $5/person) from June through September, weather permitting. Please call ahead to reserve your spot or if you are wondering about weather. Tours last around 45 minutes.

    Cost of Tours

    – Educational Groups will be given tours at no cost.
    – Non-Educational groups will be charged $5 per person (minimum 10 participants).
    – We can also arrange to do a “step on” tour for bus groups. Please call 641-421-3666 to arrange this at least two weeks ahead of time. Our docent would then get on your bus and the tour would be done by driving instead of walking. This price is the same $5 per person.

    We sell Walking Tour Guide books at the museum for $5 each if you would rather do your own tour.
  • The Chapel of Contador Saldaña at Santa Clara de Tordesillas: New Proposals about its Original Appearance and Role in the Fashioning of Identity by an Early Fifteenth-Century Converso

    London | Dates: 15 – 15 Jun, 2016
    Speakers include

    Dr Nicola Jennings: The Courtauld Institute of Art
    Organised by

    Dr Guido Rebecchini: The Courtauld Institute of Art

    The paper proposes revisions to the chronology of the chapel’s construction, its layout, the identities of the effigies, and the locus of production of the carved retable, as well as re- interpreting some of its imagery.

    Nicola has recently given papers on conversos, material culture and patronage at the International Medieval Congress in Leeds, Renaissance Society of America Conference in Berlin, International Medieval Meeting in Lleida, and Medieval Hispanic Research Seminar Colloquium at Queen Mary’s University, London.  Her publications include contributions to catalogue entries on panel paintings at Compton Verney and Sam Fogg, London. Nicola completed her PhD with Prof. Susie Nash in 2015. Nicola is Visiting Lecturer at The Courtauld Institute and Research Associate at Coll & Cortés in London.  Before studying at The Courtauld, Nicola worked at the National Gallery and at City University.
  • The Arts & Science in Early Islamic Spain

    London | Dates: 15 – 15 Jun, 2016
    There is a symbiotic relationship between design, art and visual culture, and the exact sciences, which is attested in early scientific objects from al-Andalus and in medieval Arabic texts. In this talk I explore the objects, spaces, and figures that illuminate this relationship, focusing on ‘Abbas Ibn Firnas (d. ca. 887), the celebrated polymath of the Cordoban Umayyad court, and on al-Andalus and its contemporaries between the 9th-11th centuries.

    Glaire D. Anderson is a historian of Islamic art of the caliphal period, with a focus on the art and court culture of Umayyad Cordoba. She is the author of The Villa in Early Islamic Iberia (Ashgate, 2013), co-editor with Mariam Rosser-Owen of Revisiting al-Andalus (Brill, 2007), and recent articles on the Islamic west in architectural history, women and the arts of Cordoba, and material culture and caliphal sovereignty.
  • OASE # 98 Narrating Urban Landscapes

    Dates: 08 Jun – 15 Jul, 2016
    This issue of *OASE* brings together an interest in the perception and
    design of urban landscapes with a particular methodological view. In urban
    planning and landscape practices developed in recent decades, notions such
    as ?sense of place? and site-specificity have been reintroduced as leading
    concepts, especially in redevelopment of ?post-productive? landscapes:
    former industrial areas, brownfields, harbours, mining sites, etcetera.
    Here, the landscape was transformed and manipulated rigorously in favour of
    industrial production processes, and often planned from a bird?s-eye
    perspective, according to tabula rasa methods or zoning plans projected
    directly from the drawing table onto the territory. In redesigning and
    making accessible such spaces, this abstracting perspective made way for an
    approach taking into account the experience on the terrain, rooting the
    identity of a site in a retracing of former uses. Therefore, in much of
    these reconversion projects (for example in Emscher Park), design
    approaches are called in that claim to ?read? the different layers and
    meanings of a site, understood as the locus of different stories, which can
    be revealed, reconstructed and altered. Today, a new type of redevelopment
    is high on the agenda: that of suburban areas around or between cities.
    Built mainly in the post-Second World War period, these urban landscapes
    are subject to far-reaching demographic changes and development pressure,
    especially because most city centres and the above-mentioned
    post-productive landscapes are becoming fully developed. However, suburban
    areas often seem to lack the site-specificity and the history of inner
    cities and brownfields. An important challenge is how to enhance the
    legibility of an urban landscape that has been planned in a seemingly
    chaotic way, from tabula rasa planning to a piecemeal infill, juxtaposing
    layers and ? often contradictory ? meanings? If suburbia is to become city,
    what is its ?sense of place?? And what is the story that holds it together?

    This issue of *OASE* investigates narrative approaches of analysis and
    design of both post-productive and suburban landscapes. How are narrative
    means (textual as well as visual) used as a way to (re)construct stories of
    landscapes, to reveal site-specific identities, to investigate experiential
    qualities, to place the subject back in the centre of the analysis and
    design project? How does narrativity foster the experience of temporality
    and history in the experience of landscape? A fertile ground for such
    explorations, in which the ?reading? of the urban landscape became subject
    of urban investigation, can be found in the critical responses to the
    abstracting perspective of modern architecture and urban planning, for
    instance by the British *Townscape* movement, and in the interest in the
    subject?s experience of the urban landscape in the work of American
    designers and researchers such as Kevin Lynch, Lawrence Halprin, Edmund
    Bacon, Robert Venturi and Denise Scott Brown. In the course of the 1960s
    and 1970s, their field of interest shifted from the inner city to suburbia
    and highway landscapes, which were in full development at the time. They
    used a wide range of media that can be described as ?narrative?: ?serial
    views?, interviews, mental mapping and they experimented with the juxta-
    and superposition of photographic images, sketches, text and maps. However,
    this interest in experiential and narrative aspects of urban landscapes has
    its precedents in older site-specific and experience-oriented approaches
    (for example Camillo Sitte?s attempt to link the modern city to the
    specificity of the site and the pedestrian experience), as well as in
    landscape architecture (for example the picturesque garden, specifically
    designed from a routing as a narrative structure).

    This issue of *OASE* aims to explore the legacy of these historical
    approaches, and seeks appropriations of such methods to address today?s
    questions of urban landscapes. We are looking for two types of
    contributions. First, we invite contributions of/on (landscape) architects
    and urban planners using a narrative approach in analysis and design today.
    Which techniques are used, and how are they brought into practice? Second,
    we invite theoretical and/or historical reflections, taking the exploration
    of the experiential and narrative aspects of urban landscape in history as
    a starting point for a critical reflection. Who constructs the narrative,
    how and why? How does the narrative relate to power relations? Can
    narrativity provide a way of conceiving of subject-object, reader-writer as
    active relationships instead of as opposites?

    The aim of this issue of *OASE* is to understand the historical foundations
    of the concept of narrativity in reading and designing the (urban)
    landscape, and to uncover the relevance of narrativity for today?s practice.

    Please send your abstract of max. 500 words before *July 15, 2016 *to

    Notification of results: 25 July 2016
    Selected papers (max. 3000 words) deadline: 15 September 2016
    Release of the issue: May 2017

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