This year, Germany and Israel are celebrating 50 years of diplomatic relations. For the Bauhaus Dessau Foundation, this marks an occasion to reflect on the idea of collective building and thus the relationship between Bauhaus and Israel in a symposium. The symposium is broken down into three panel discussions with related content. The first panel deals with the role of the architect using the example of Arieh Sharon. Four structures are then considered in their historical and current contexts and finally, the reception to and impact of Bauhaus in Israel over time is discussed. The symposium also offers tours through the Bauhaus and a trip to Dessau-Törten.
Lecturers are well-known representatives from the realms of architecture, landmark preservation and the arts and cultural sciences – including Jeremie Hoffmann, director of Tel Aviv’s Municipal Conservation Department and Ines Weizman, junior professor for architectural theory, Bauhaus University Weimar and director of the Bauhaus Institute for Architectural History and Theory.
The symposium is geared toward architects, landmark preservationists, art historians, cultural scientists and sociologists as well as Israel and Bauhaus enthusiasts.
The symposium will be followed by a book presentation:
"Carmel. International Style in Haifa"
with Ines Sonder (Potsdam), Michael Levin (Ramat Gan) and the photographer Stephanie Kloss (Berlin)
In the afternoon we offer a trip to the Balcony Access Houses by Hannes Meyer, fee EUR 4.00, registration at firstname.lastname@example.org by 1 October.
You can find programme details at www.bauhaus-dessau.de
NASHVILLE, Tenn. (September 16, 2015)—Marking the first time works by Michelangelo have ever been exhibited in Nashville, the Frist Center for the Visual Arts proudly presents Michelangelo: Sacred and Profane, Masterpiece Drawings from the Casa Buonarroti, on view from October 30, 2015, through January 6, 2016, in the Center’s Ingram Gallery. The Casa Buonarroti, the artist’s family home in Florence, possesses the largest and most important collection of the artist’s drawings in the world, and many of its greatest works will be on view.
The exhibition offers an intimate view into the mind of Michelangelo Buonarroti (1475–1564), one of the giants in the history of Western art. The rich and varied selection of twenty-six drawings—ranging from rapid sketches to presentation drawings—attests to the High Renaissance master’s accomplishments as a sculptor, painter, architect and military engineer. The works span almost six decades, from around 1504, when Michelangelo was a mature artist of nearly thirty, until a few years before his death. They show the incredible diversity of his projects and the dynamics of a career spent largely working for ambitious popes in Rome and Florence.
“These drawings illuminate how Michelangelo worked and thought, his extraordinary range and technical brilliance, as well as his playful attitude toward ancient architecture,” says Frist Center Curator and Renaissance scholar Trinita Kennedy. “During his long career, he used pen and ink and red and black chalk on paper to generate ideas and communicate them to his patrons, friends and assistants. He deliberately destroyed many of the drawings, including the large-scale cartoons for the Sistine Chapel frescoes, so the remaining sheets are exceedingly rare and valuable. ”
Michelangelo’s powers to evoke the sacred are fully displayed in the large and deeply moving drawing Madonna and Child (ca. 1524), which is one of Michelangelo’s most admired images. The sculptural figures are rendered in a fascinating mixture of techniques that includes underdrawing in black chalk and flesh tones in the child’s arm in red chalk.
Michelangelo’s Study for the Head of Leda (ca. 1529), a mythological subject, is equally beautiful. He made it in preparation for the panel painting Leda and the Swan (destroyed in the seventeenth century) commissioned by Duke Alfonso d’Este of Ferrara in 1529 and completed in 1530. Red chalk proved to be the ideal medium for conveying Leda’s delicate features and allure.
Michelangelo’s legacy as an architect was no less monumental than his stature as a sculptor and painter. The Casa Buonarroti, from which highlights have been chosen, holds the most extensive and significant collection of Michelangelo’s architectural drawings. The important ecclesiastical designs chosen for display include several plans too ambitious and costly to be realized: the San Lorenzo façade, the rare book room of the Laurentian Library, and the church of San Giovanni dei Fiorentini in Rome. Like his older contemporary Leonardo da Vinci, Michelangelo was called upon to invent fortifications. He responded with fantastic drawings of bastions equipped with pincers like giant crabs.
These visionary drawings gain impact from their notable dimensions, which range in height and width from twelve to fifteen inches, and a few are even larger. Impressive in their own right, the works provide dynamic links to a better understanding of Michelangelo’s interdisciplinary virtuosity. “Our knowledge of Michelangelo’s life, career and working methods is infinitely richer thanks to these sheets that have survived the past five centuries,” says Ms. Kennedy.
This exhibition was organized by the Muscarelle Museum of Art at the College of William & Mary in Virginia in partnership with Fondazione Casa Buonarroti and Associazione Culturale Metamorfosi.
This exhibition is accompanied by a fully illustrated catalogue with essays by Aaron H. De Groft, Adriano Marinazzo, Pina Ragionieri and John T. Spike.
The Frist Center for the Visual Arts gratefully acknowledges the Friends of Italian Art.
The Frist Center for the Visual Arts is supported in part by the Metro Nashville Arts Commission, the Tennessee Arts Commission, and the National Endowment for the Arts.
SarasotaMOD Weekend, a festival of architecture in Sarasota, Florida, Nov. 6 to 8, focusing on the architecture of Paul Rudolph. Presentations, parties and tours. Highlights include the grand opening of a full-size replica of Rudolph's 1952 Walker Guest House at The Ringling museum; parties at exclusive private homes like Rudolph’s 1953 Umbrella House and at his newly renovated 1960 complex at Sarasota High; presentations by architects who knew and worked with Rudolph.
Please join us to celebrate the founding of the Society of Architectural Historians at Harvard University in 1940.
SAH 75th Anniversary Reception
Wednesday, October 28, 2015
Frances Loeb Library
Harvard University Graduate School of Design
48 Quincy Street
Cambridge, MA 02138
Immediately following the reception, at 6:30 p.m. you are invited to attend the PhD Seminar by SAH board member Luis Castañeda
, assistant professor art history, Syracuse University. The PhD Seminar is free of charge, however, you must reserve online to confirm a seat. Please register by October 22
SAH Reception (drinks and hors d’oeuvres will be served):
$75 per person
$15 Graduate Student rate
$250 and up: Reception sponsors of $250 and up will be acknowledged at the event. 75th Anniversary Reception Committee
Ken Tadashi Oshima
SAH thanks Ann Whiteside
, Librarian/Assistant Dean for Information Services Frances Loeb Library, Harvard University Graduate School of Design, for her invaluable assistance in coordinating the event.
SAH thanks Colonel (IL) Jennifer N. Pritzker, IL ARNG (Ret)
and the Tawani Foundation
for their support of SAH’s 75th anniversary programs.
Today, human activities constitute the primary environmental impact on the planet. In this context, commitments to sustainability, or minimization of damage, prove insufficient. To develop regenerative, capabilities, architectural design needs to extend beyond the form and function of things in contained projects and engage with the management of complex systems. Such systems involve multiple types of dynamic phenomena biotic and abiotic, technical and cultural and can be understood as living. Engagement with such living systems implies manipulation of pervasive and unceasing change, irrespective of whether it is accepted by design stakeholders or actively managed towards homeostatic or homeorhetic conditions.
Responding to this challenge, CAADRIA 2016 seeks to interrogate the notion of continuity and the applicable architectural toolsets in order to map and discover opportunities for innovation.
For the full version of the call and further information, see the PDF version:
And the conference website:
30 March - 2 April 2016
Call for Papers
A Beautiful Role: Architecture and the Display of Art
Graduate Student Symposium
Saturday, April 9, 2016
Painting and sculpture play a beautiful role in the realm of architecture, as architecture plays a beautiful role in the realms of painting and sculpture. —Louis I. Kahn (1960)
The Yale Center for British Art—designed by Louis Kahn and completed in 1975—has recently undergone an extensive program of conservation. To mark the reopening of the building, and the complete reinstallation of the collection, the Center will be hosting a conference to investigate the role that buildings play in the display of art.
Our experience of objects is greatly influenced by their setting, whether in the home of a collector, in a museum display, in a storage rack, or on a computer screen. This conference will focus on museum architecture and explore where it has been and where it is going. Seeking to inspire fresh thinking about the relationship between works of art and the buildings that contain them, the conference will address the ways in which architecture can enhance, limit, and transform our encounters with art. Graduate students of all disciplines—including art, design, architecture and architectural history, and museum studies—are invited to submit proposals for papers that examine the ways in which architecture influences our experience of art.
Topics could include, but are not limited to:
The museums of Louis Kahn; the advantages and/or limitations of the modernist museum concept; the role of architectural setting in the understanding of art; the history of museum design; the role of the museum building in the university; the translation of personal collections from domestic space to museum displays; the relationships between patrons, architects, and curators; contrasting needs in the display of collections and in the curating of exhibitions; the renovation/conservation of historic museum spaces; and the current fashion for museum extensions. We particularly welcome topics related to the historical moment of the Center’s building and to the challenges and opportunities faced by museums working to conserve their existing buildings.
We are accepting proposals for twenty-five-minute papers from graduate students working in any discipline. Travel and accommodation costs will be covered by the organizers. Please e-mail abstracts of no more than three hundred words along with a one-page CV to email@example.com by January 29, 2016.
The International Congress on Medieval Studies (ICMS) at Western Michigan University, Kalamazoo, MI, May 12 - 15, 2016
Deadline: Sep 15, 2015
Art historians traditionally focus on the finished work, yet attention to the creative process of making allows us to consider how medieval builders and artisans constructed monuments, made objects, and planned workflow for large-scale projects. Furthermore, this line of inquiry allows us to consider spatial planning and haptic encounters. The use of new technologies such as digital reconstructions, laser scans, 3D printing, and other imaging tools provides scholars with the opportunity to understand the conceptual processes of art making in the Middle Ages as never before through reverse engineering.
Recent art-historical scholarship has reintroduced interest in the materiality/object-ness of medieval art and architecture and attendant somatic responses. Analysis of the processes of making is fundamental to this renewed interest in the relationship between materiality and human experience of the art object. Together, these inquiries will yield new insights into the social, economic, political, and practical conditions of production.
For this session we are interested in presentations that investigate the process of making medieval art and architecture and what these processes tell us about medieval artistic production. We welcome papers that explore questions such as:
• What can art historians learn from studying creative processes?
• What are the methods of design to finished product?
• How did masons and artisans revise work in progress or finished work?
• Why are some materials selected over others?
DEADLINE FOR PAPER PROPOSALS: 15 September 2015
Paper proposals should consist of the following:
• Abstract of proposed paper (300 words maximum)
• Completed Participation Information Form available at: http://wmich.edu/medieval/congress/submissions/index.html#Paper
• CV with mailing information and email address.
PLEASE DIRECT INQUIRIES/SUBMISSIONS TO THE ORGANIZERS:
Meredith Cohen: firstname.lastname@example.org
Kristine Tanton: email@example.com.
Information about the conference, including proposal submission forms, may be found at
This is your opportunity to be part of an exciting and coveted program that inspires and fosters Australia's next generation of emerging architectural talent ? the 2016 Dulux Study Tour.
Winners will embark on an exciting architectural tour of Istanbul, London and Madrid where they can experience firsthand some of the best architectural sites and practices.
Simply click here to enter.
Entry into the 2016 Dulux Study Tour is a two stage process:
To enter, entrants are required to submit their answers to four nominated questions, their contact details and details of their employer via the online entry system.
Stage 1 submissions must be lodged by no later than AEST 4pm Thursday 17 September 2015.
Late submissions will not be accepted. Entrants? answers to the nominated questions will be judged, and shortlisted entrants will be notified to enter into Stage 2.
Shortlisted entrants must upload via the online entry system an A4 document that includes; one written employer reference, resume (maximum two pages), portfolio of works (maximum of four pages). Submissions for stage 2 must be lodged between AEST 9.00am Monday 12 October 2015 to AEST 4.00pm Thursday 5 November 2015.
2016 Dulux Study Tour Terms and Conditions http://wp.architecture.com.au/duluxstudytourblog/wp-content/uploads/sites/20/2015/07/2016-Dulux-Study-Tour-Terms-and-Conditions.pdf
2016 Annual Symposium of the Society of Architectural Historians (Great Britain)
Saturday 21 May 2016
To be held at the Royal Institute of British Architects, London
The Official Architect; missing chapters in the history of the profession
Official architects, if considered at all, are now most readily associated with the work of the once powerful local authority architects departments of the post-war era. However they have an earlier and more varied history. During the eighteenth, nineteenth and for much of the twentieth century in Britain the title applied to any architect in salaried employment, often working for the state in departments such as the Office of Works, the Admiralty, or the Post Office. Yet such posts were also relied on in bodies as varied as the Miners Welfare Association, the Imperial War Graves Commission, and large private companies such as Boots, Woolworths, the Co-Operative Wholesale Society, and major railway companies such as the L.M.S. Responsible for the design of large swathes of the built environment the work of such architects was as often referred to derogatively as ‘departmental architecture’ and attacked for its poor quality or gone unnoticed due to the culture of bureaucratic anonymity.
This annual symposium of the Society of Architectural Historians of Great Britain, held in partnership with the Royal Institute of British Architects, aims to explore the history of salaried official architects and their work - from Borough Surveyors to County, City or Chief Architects and others - including those in the state and public sectors, major companies and international corporations.
Contributions are welcome which highlight individual careers, institutions, working methods, major buildings/projects, and the political and professional debates surrounding Official architecture in this country and beyond over the last two hundred years or more the better to understand this strand in the history of practice.
Please send initial 300 word proposal, or enquiries, to the organiser, Dr. Julian Holder, at firstname.lastname@example.org by 31 October 2015. Review of papers will be finalised by December 31 2015.
Papers should present original research and should be of 20 minutes in duration. Draft papers will be welcomed by 31 March 2016. Publication of suitable quality papers is envisaged.
Speakers are not charged the Symposium fee and are invited to an informal dinner as guests of the Society the night preceding the Symposium. All other associated costs such as travel and accommodation must be met by the speakers.
With over 50 built projects across the world, David Adjaye is rapidly emerging as a major international figure in architecture and design. Rather than advancing a signature architectural style, Adjaye’s structures address local concerns and conditions through both a historical understanding of context and a global understanding of modernism. The first comprehensive museum survey devoted to Adjaye, this exhibition offers an in-depth overview of the architect’s distinct approach and visual language with a dynamic installation design conceived by Adjaye Associates.
Of African ancestry and raised in Ghana, the Middle East, and England, Adjaye now has offices in London, New York, Berlin, and Accra. Like many international architects, he is itinerant, and his practices defy cultural borders and geopolitical categories. However, Adjaye is unique in being an African-born architect working in a global landscape. Having traveled the world studying buildings and architectural styles, most recently and extensively in Africa, he is acutely sensitive to the effects of location. A proponent for architecture from beyond the Western canon, he brings a distinctive contemporary “Afropolitan” view to his various projects.
While Adjaye has never adhered to a discrete style, his projects coalesce around certain ideas. Often set in cities struggling with diversity and difference, his public buildings provide spaces that foster links among people and explore how neighborhoods evolve, how new communities are created, and how unexpected junctures weave diverse urban identities and experiences into the tapestry of multiculturalism. Rethinking conventions, his designs speak to the specific time and place in which they were made. These ideas are expressed in important recent projects, such as the Smithsonian’s National Museum of African American History and Culture on the National Mall in Washington, D.C., a building that faces history head-on, bringing together references from across Africa and America in a visually and physically evocative design.
This exhibition, comprising furniture, housing, public buildings, and master plans, fills the first-floor Abbott Galleries and the second-floor architecture and design galleries in the Modern Wing. In addition to drawings, sketches, models, and building mock-ups, a specially commissioned film featuring Adjaye’s collaborators—an international roster of artists, the exhibition curators, and other influential figures in the art world—helps bring his projects to life and makes clear the important role that Adjaye plays in contemporary architecture today.
Exhibitions have long played a crucial role in defining disciplinary histories, as they mark pivotal moments in time and document the environment in which new narratives or arguments unfolded. At a moment when the fields of architecture and design, spurred by a multitude of cross-cultural and global conversations, are opening up to new definitions, ways of working, and design and production processes, this research highlights how an exhibition can help to both concretize and critique ongoing technological and cultural shifts. As Seen is an ongoing research project that looks at the influence of architecture and design exhibitions years after their closing.
The selection presented in As Seen focuses on eleven group exhibitions from 1956 to 2006, organized by a wide range of architecture and design professionals. Through varied approaches these exhibitions reflected on then-current dilemmas, identified alternatives to prevailing practices, and reasserted design’s implications for everyday life. Since their debut, many of these exhibitions have grown in influence through the spread of their ideas and the rising popularity of the designers involved. As Seen features a range of materials—installation images, posters, invitation cards, catalogues, correspondence, and floor plans—that are more than residual and provide glimpses into the concepts driving the exhibitions as well as the physical spaces they once occupied. Critical discourse from the media and scholars presented alongside these materials illuminates and helps to vivify the discussions surrounding these events at the time. These presentations show how the tools of curators, graphic designers, industrial designers, architects, and others can be catalyzed toward new ends, which often resonate beyond the temporal duration of the exhibition itself, ultimately making history.
Initiated as part of the Istanbul Design Biennial 2014, the research has been brought to Chicago with the aim of continuing the dialogue and illustrating a cross section of creative output to be seen through new eyes. Although it presents only a small sampling of exhibitions—by no means global in scope—the hope is that this installation reignites conversations about the influence of exhibitions on the practice and perception of architecture and design.
This exhibition was made possible by the generous support of the Architecture & Design Society. Exhibition design by Project Projects.
Inspired by the working process of international architect David Adjaye, this installation in the Ryan Education Center interactive gallery invites visitors of all ages to discover how architects use building materials like wood, fabric, ceramic tiles, laminates, paint, stone, and plastics to create form and atmosphere. Visitors can arrange material samples and sketches to create a “mood board” (just like the professionals do) and consider how color, texture, and cultural context create a specific feel as well as how materials affect the way we experience architecture inside and out—from personal spaces to museum galleries to buildings in Chicago.
The title of the 2015 edition of the Chicago Architecture Biennial will be The State of the Art of Architecture.
What is The State of the Art of Architecture today? More than a profession or a repertoire of built artifacts, architecture is a dynamic cultural practice that permeates fundamental registers of everyday life—from housing to education, from environmental awareness to economic growth, from local communities to global networks. In an age of accelerated change, today’s architects, artists, designers, planners, and activists are developing an extraordinary range of visionary ideas that test the limits of these realms of everyday life. As a platform for the creative breakthroughs that are reimagining the ways we inhabit and shape the world around us, the Chicago Architecture Biennial will bring an international and intergenerational network of architectural talent together to explore the ambitions, challenges and possibilities that are fueling the architectural imagination today and steering the future of the field.
The State of the Art of Architecture will offer an opportunity to take stock of architectural projects and experiments from around the world, establishing a broad foundation for future editions of the Chicago Architecture Biennial. With an incredible breadth of design approaches, research interests, and cultural perspectives, it will offer a global stage for debate and the exchange of ideas.
The inaugural Chicago Architecture Biennial takes its title, The State of the Art of Architecture, from a 1977 conference organized by architect Stanley Tigerman, which invited leading American designers to Chicago to discuss the current state of the field. The Chicago Architecture Biennial will expand the spirit and scope of this event. It will invite both emerging and established practices from across the world to Chicago to demonstrate how groundbreaking advances in architectural design are tackling the most pressing issues of today. In this way it will enrich Chicago’s unique role in history as a crucible of architectural innovation. The setting for a succession of pivotal episodes in modern architecture and urbanism, and a context in which architects such as Louis Sullivan, Frank Lloyd Wright, and Mies van der Rohe developed revolutionary projects, Chicago will operate as a nexus for the ideas and practices that are driving global architectural culture in the 21st century.
Digital technologies are driving important changes in archaeology. Despite the increasing acceptance of digital technology in daily life, however, determining how to assess digital scholarship has proved difficult: many universities remain unsure about how to evaluate digital work along side more traditional forms of print publication when faced with tenure and promotion decisions. Recognizing the value of digital scholarship, and aiming to encourage its practice, the AIA offers this award to honor projects, groups, and individuals that deploy digital technology in innovative ways in the realms of excavation, research, teaching, publishing, or outreach.
For nomination criteria and form, go to https://archaeological.org/awards/digitalarch
Offered exclusively by Wendella Boats the Chicago River Bridges Tour with award winning author Patrick McBriarty, who is docent for this 2-hour architectural tour of Chicago’s fantastic bridges, past and present. With more drawbridges than any city in North America, see 20+ bridges and learn all about the history, architecture, engineering, human dramas, and stories of floods, fire, bridge jumps, or the homeless man living in the bridge. There is no better way to see why Chicago is the Drawbridge Capital of the World! Ticket are available online at for these once per month tours (June – October). These tours leave from the Trump Tower Docks at river level between the Wrigley Building and Trump Tower. Please arrive 10-15 minutes early to allow time for boarding.
We are delighted to announce the launch of Journal18 – a new digital publication entirely dedicated to eighteenth-century art and material culture.
Journal18 is a digital, open access, peer-reviewed journal devoted to art and culture of the long eighteenth century from around the globe.
Inspired by the rich and exciting state of the field of eighteenth-century art history and the current lack of a journal that truly supports that richness, Journal18 has been founded to provide that space. Taking form as a digital, flexible, open-access publication, Journal18 seeks the widest possible engagement with the latest research in the field.
Appearing twice a year, Journal18 will publish thematic issues of articles investigating all aspects of eighteenth-century social and cultural history with a strong emphasis on visual and material culture.
Throughout the year, Journal18 will also offer a forum for intellectual exchange in the “Notes & Queries” section: a space for short notes, reviews, archival discoveries, or scholarly musings.
Journal18 will launch in Spring 2016 with Issue #1 – Multilayered. This inaugural issue of Journal18 will explore the multilayered nature of eighteenth-century art. Contributions will focus on artworks that bear traces of multiple hands as a result of workshop production, cross-cultural exchange, re-use, restoration, vandalism, or other factors. We are currently accepting submissions for Notes & Queries, but we are not accepting submissions for #1 Multilayered.
For all inquiries including proposals for contributions to “Notes & Queries” please contact the editors at: email@example.com. Keep up to date with Journal18 by following us on Twitter @Journal18_ and Facebook.
Noémie Etienne (Getty Research Institute) Meredith Martin (Institute of Fine Arts-NYU) Hannah Williams (University of Oxford)
Nebahat Avcioglu (Hunter College/CUNY); Finbarr Barry Flood (Institute of Fine Arts, New York); Esther Bell (Fine Arts Museums of San Francisco); Daniela Bleichmar (University of Southern California); Jeffrey Collins (Bard Graduate Center, New York); Thomas Crow (Institute of Fine Arts, New York); Craig Hanson (Calvin College); Anne Higonnet (Barnard College/Columbia University); Kristina Kleutghen (Washington University, St Louis); Anne Lafont (INHA, Paris); Ewa Lajer-Burcharth (Harvard University); Mark Ledbury (University of Sydney); Katie Scott (Courtauld Institute of Art); Charlotte Vignon (Frick Collection); Michael Yonan (University of Missouri
The Marion Dean Ross Chapter of the Society of Architectural Historian's 2015 conference program has been published! This year, the conference will be based in Ashland, Oregon, October 23-25, 2015. The program and registration information can be found here:
The theme is "Artifice and Authenticity in Architecture! To Play or Not To Play?" The conference will be based in Ashland, but we will also be spending time in nearby Medford and Jacksonville.
The key dates are as follows:
September 22, 2015 - Deadline for conference hotel rate
October 7, 2015 - Registration deadline without a late fee
October 20, 2015 - Deadline for off-site registration
October 23-25, 2015 - Conference in Ashland
For updates and breaking news, go to the SAH MDR website:
As always, check out our SAH MDR blog for news about historic architecture in the Pacific Northwest:
Announcement for the new book series: Critical Studies in Architecture of the Middle East
Critical Studies in Architecture of the Middle East is devoted to the most recent scholarship concerning historic and contemporary architecture, landscape, and urban design of the Middle East and of regions shaped by diasporic communities more globally. We invite interdisciplinary studies from diverse perspectives that address the visual characteristics of the built environment, ranging from architectural case studies to urban analysis. The series will illustrate a range of approaches to the commission, design, construction, use, and reception of buildings and landscapes throughout the region; concurrently, it will illuminate the region’s diverse architectural cultures and traditions. The series intends to present the history, theory, practice, and critical analyses of historical and contemporary architecture, landscape, and urban design, as well as the interpretation and conservation of the region’s existing cultural heritage. It will include surveys, monographs, and edited volumes.
Series editors: Mohammad Gharipour & Christiane Gruber
Please submit your book proposals to the series editors. The following is the link to the book proposal template: http://www.intellectbooks.co.uk/repository/index/
This RFP is a call for an immersive, participatory, location-based “adventure” (for you to define!). (re)Newport’s goal is to expose Newport, Rhode Island's cultural treasures, its buildings and landscape, and its histories and myths in an effort to build community, invigorate connections between and beyond the cultural sector, and spark curiosity and wonder.
(re)Newport is the inaugural pilot project of the Catalyzing Newport initiative. As such, we are
looking for a team of three entrepreneurial scholars, artists and techies to help us develop a proof-of-concept that we can then scale out with more dedicated resources. You may apply as a team;
however, we are happy to create the team from among the applicant pool. A good model for this
work is “One week, One tool” – where expansive thinkers come together for a concentrated time to
solve a challenge. Intrigued? Great! Keep reading below to learn more about the creators’ hopes for
this project and the RFP’s parameters.
Successful projects will create a tool and/or a prototype to:
• Creatively engage the collections and networks of all of the Catalyzing Newport institutions
• Incorporate diverse locations across Newport including a mix of public, private and semi-public
places, indoor and outdoor spaces and the waterfront
• Engage Newport’s diverse communities, classes, races and subcultures to promote civic
• Allow participants to shape their own experiences through physical and digital interactions
• Acknowledge real or perceived loss and/or contested spaces or narratives
• Produce tangible traces or artifacts that outlive the experience
Submissions will be reviewed by a Catalyzing Newport committee (comprised of selected steering committee members, project team and advisors, and past catalysts). The committee will award three individuals with stipends ($1000 each), plus room and board, to come to Newport, RI, for four days to create a (re)Newport prototype.
• Interested individuals are encouraged to submit 1) up to a 2-page CV or resume, 2) a short bio,
and, 3) bulleted list of relevant collaborative work/project/work samples.
• All proposals should be submitted with a Letter of Intent that outlines 1) how your past work and
future plans address the aims of the project, 2) your experience working on collaborative projects,
and 3) your idea for what the “adventure” could be – or some model projects that would inspire
your adventure idea.
Outside Design, a collateral event of the first Chicago Architecture Biennial, will explore the turn in art and design toward biotechnology and ecological systems. Curated by Jonathan Solomon, SAIC’s Director of the Department of Architecture, Interior Architecture, and Designed Objects, this show will bring together five firms whose research-based work develops new knowledge at the edges of design practice. The practices—Analog Media Lab (Urbana-Champaign, IL), Ants of the Prairie (Buffalo, NY), The Living (New York City), Species of Space (Chicago), and Sweet Water Foundation (Chicago)—pursue projects that move outside of their core of expertise and into the center of other fields. Responding to these dialogic practices, the exhibition will be organized as a series of laboratories installed across the galleries, engaged throughout the fall by students, faculty, and visiting artists and designers. This mode of collaborative experimentation and exchange will continuously transform the gallery space, resulting in new projects and installations and pushing the boundaries of disciplinarity. An ambitious schedule of programs will further activate the space, and connect to local arts and design institutions.