The Marion Dean Ross chapter of the Society of Architectural Historians is pleased to offer the 2015 Elisabeth Walton Potter Research Award. The purpose of the EWP Research Award is to further awareness and knowledge of the architectural heritage of the Pacific Northwest. Awards range from $500 and $2000 in any given year and are awarded to from one to several recipients per year. Applications for the award are due by September 15, 2015.
Last year the award went to a team of individuals who are preparing Archipedia entries for the national Society of Architectural Historians. This project documents the 100 most significant buildings and sites in each state, and makes this information available at: http://sah-archipedia.org/. The award will help the team, which is based at Washington State University, provide small stipends that will help pay for expenses to photograph the entries.
In 2013, the EWP award provided assistance with two research projects. One award was given to Professor Anne Marshall for her paper entitled, “Indigenous Architecture: Creating the Museum At Warm Springs,” and one was awarded to independent consultant Liz Carter for her research, “Mid-Nineteenth Century Dwelling of Oregon Black Pioneers: A Brief Historical Context.”
Recipients of the EWP award are expected to make a presentation on their research at the following year’s Society of Architectural Historians Marion Dean Ross conference. This year the SAH MDR conference will be held in Ashland, Oregon, October 23-25, 2015.
For an application form and more information, go to: http://www.sahmdr.org/awards.html
November 6-9, 2015
To learn more and register, visit www.aslameeting2015.com
Advance Deadline: October 2
• Attendees may choose from 134 education sessions and tours to earn up to 21 Professional Development Hours for LA CES. A significant number of programs will be approved by the U.S. Green Building Council for LEED AP certification maintenance, AIA, and APA/AICP.
• We expect more than 6,000 professionals to attend, so networking and business development opportunities will abound.
• Field sessions, including exclusive behind-the-scenes access, will provide attendees the opportunity to explore Chicago.
• More than 400 EXPO exhibits will feature the latest products and services for landscape architects and designers, and nearly half are new this year.
• With a great new line-up of celebrity chefs and a new farm-to-table menu, the Edible Landscapes event is a one-of-a-kind, must-attend occasion!
• Land8 and the ASLA 2015 Annual Meeting and EXPO present the Land8 Happy Hour. Students, emerging professionals, and all Annual Meeting attendees are invited to join in on this exciting night of music, food, drinks, and fun.
HACLab Pittsburgh: Imagining the Modern (September 12, 2015–May 2, 2016), an experimental exhibition at Carnegie Museum of Art, looks back to mid-century Pittsburgh, and the arrival of modern architecture through large-scale urban redevelopment. The city’s ambitious planning program drew national planners and architects, as well as critics, into far-reaching conversations, influencing dozens of other cities in the process.
In 1939, the Pittsburgh Regional Planning Association hired Robert Moses to solve problems related to congestion around the city’s downtown “point”, where its three rivers converge. His proposal, the “Arterial Plan for Pittsburgh”, was comprehensive. The Pittsburgh Press published his recommendations under the headline “Highways to Suburban Areas.” The plan led to the Penn-Lincoln Parkway and the city-bisecting highway, Crosstown Boulevard, and to the construction of Point State Park.
In 1962, Jane Jacobs, a grassroots planner and critic of Moses, spent a week consulting in the city at the invitation of the University of Pittsburgh. She was known for leading neighborhood campaigns that opposed large-scale destruction of New York’s original Greenwich Village neighborhood. Upon her arrival, she received a driving tour of renewal projects around town, including the Lower Hill, which had recently been razed to construct the Civic Arena. At the conclusion of the tour she made a statement to the press: “Pittsburgh is being rebuilt by city haters.”
The exhibition, in the museum’s Heinz Architectural Center includes abundant archival materials from the period, an active architecture studio, and a salon-style discussion space, unearthing layers of history and a range of perspectives.
Architects-in-residence, the Boston-based studio over,under, highlight successive histories of pioneering architectural achievements, disrupted neighborhoods, utopian aspirations of public officials and business leaders, and Pittsburgh’s role as a model for the modern American city. These intertwined narratives shape the exhibition’s presentation, as does the assignment for its in-gallery architecture studio: the imaginative reuse of Allegheny Center on Pittsburgh’s North Side.
As a result, HACLab Pittsburgh: Imagining the Modern is iterative, uncovering stories about this idealistic yet turbulent period throughout its seven-month run. In the 1950s and ’60s, Pittsburgh was held up in national conversations as a key example of a progressive American city for its urban revitalization projects. Many never-realized proposals would have radically altered the city’s urban fabric while others were only partially completed, creating problems in subsequent years. Today, many criticize Pittsburgh’s postwar projects for their destruction of neighborhoods and displacement of communities.
These stories, addressed through photographs, films, drawings, documents, and other ephemera, reveal idealism and architectural ingenuity alongside public discourse and protest.
The neighborhoods and projects in focus include Gateway Center, the Lower Hill, Allegheny Center, East Liberty, and Oakland. Significant architects include Harrison & Abramovitz, Mitchell & Ritchey, Simonds & Simonds, and Gordon Bunshaft of Skidmore, Owings & Merrill (SOM). In addition, HACLab Pittsburgh: Imagining the Modern examines unrealized proposals such as those by Frank Lloyd Wright for the Point.
During fall 2015, architecture students from Carnegie Mellon University will investigate the legacy and potential of the stalled urban revitalization project at Allegheny Center. Students will analyze the sociological, political, and economic motivations for urban renewal; the causes for its shortcomings and successes; and assess the cultural and ecological impact of the current situation. They will then design various scenarios for adaptive reuse of the site. This work will take place in the largest of the Center’s galleries, where proposals will remain on view through May 2. In the spring, this gallery will function as a salon, with comfortable furniture for visitors and a lively program of discussions involving residents, architects, theorists, and urban planners, seeking to understand Pittsburgh today in light of its complex history.
Ultimately HACLab Pittsburgh hopes to engage and better inform Pittsburghers and visitors alike about this complex and multi-layered city.
HACLab Pittsburgh: Imagining the Modern is the first in a new series of HACLab initiatives overseen by Raymund Ryan, curator of architecture at the Heinz Architectural Center. Each Lab will see a team of design radicals investigate issues of architectural and planning in Pittsburgh and the surrounding region. This experimental format reflects our constantly changing understanding of architecture and urbanism. Museum visitors are encouraged to return again and again to track the evolution of the research and participate in an evolving body of knowledge.
over,under is a Boston-based practice with expertise in architecture, urban design, graphic production and curation. The firm has designed projects in the United States, Latin America, and the Middle East. Previous exhibitions include Rethinking Boston City Hall (2007) and HEROIC (2009) at pinkcomma, Boston; IN FORM: Communicating Boston (2012), and Let’s Talk About Bikes (2012) at the Boston Society of Architects’ gallery BSA Space; and Design Biennial Boston (2008-). The over,under team for HAC Lab Pittsburgh includes Rami el Samahy, Chris Grimley, Kelly Hutzell, Michael Kubo, Ann Lui and Mark Pasnik. El Samahy is a faculty member at the School of Architecture, Carnegie Mellon University, Pittsburgh.
General operating support for Carnegie Museum of Art is provided by The Heinz Endowments and Allegheny Regional Asset District. The programs of the Heinz Architectural Center are made possible by the generosity of the Drue Heinz Trust. Carnegie Museum of Art receives state arts funding support through a grant from the Pennsylvania Council on the Arts, a state agency funded by the Commonwealth of Pennsylvania.
Carnegie Museum of Art
Carnegie Museum of Art, founded by industrialist and philanthropist Andrew Carnegie in 1895, is nationally and internationally recognized for its collection of fine and decorative art from the 19th to 21st centuries. The collection also contains important holdings of Japanese and old master prints. Founded in 1896, the Carnegie International is one of the longest-running surveys of contemporary art worldwide. The Heinz Architectural Center, part of Carnegie Museum of Art, is dedicated to enhancing understanding of the built environment through its exhibitions, collections, and public programs. The Hillman Photography Initiative serves as a living laboratory for exploring the rapidly changing field of photography. For more information about Carnegie Museum of Art, one of the four Carnegie Museums of Pittsburgh, call 412.622.3131 or visit our website at www.cmoa.org
Three photographic exhibits, film screenings, social events and two days of talks by photographers, landscape architects, writers and historians.
The conference will feature a three-year French research initiative on the interface of landscape, photography and theory, along with contributors to Drawn to Landscape: The Pioneering Work of J. B. Jackson, edited by Janet Mendelsohn and Chris Wilson, which debuts at the conference.
Organized by the Ecole nationale supérieure du paysage de Versailles (French National Landscape Architecture School), and the School of Architecture and Planning, and University Libraries at the University of New Mexico
This international conference will examine the phenomenon of shifting populations and their connections to urban heritage. Hosted by the Rutgers University’s Program in Cultural Heritage and Preservation Studies (CHAPS), it will bring together leading scholars and practitioners from around the world to address the complex and interconnected challenges facing cities and their populations. The overarching goal is to identify new approaches towards working effectively with diverse and dynamic populations as part of current efforts to rethink the meaning and practice of heritage conservation within the “shifting cities” that define urbanism in the 21st century. Keynote speakers include Ishmael Beah, the award-winning author and UNICEF Goodwill Ambassador, and Francesco Bandarin, Former Assistant Director-General for Culture for UNESCO. In addition to panel sessions, workshops, and walking tours, the conference also includes a musical performance by the world-renowned composer and pianist, Malek Jandali.
HISTORIC SALEM, INC. CELEBRATES ADA LOUISE HUXTABLE WITH SYMPOSIUM
Event Commemorates 50th Anniversary of Pivotal NY Times Article That Saved Salem
In 1965, an urban renewal plan was set to build a four-lane roadway in downtown Salem right next to the Peabody Essex Museum and Old Town Hall. As many as 103 buildings across 39 acres of Salem’s historic core were set to be razed in favor of roads and parking lots. Historic Salem, Inc. has organized a September 25 symposium to commemorate the 50th anniversary of the act of journalism that stopped the wrecking ball. A potent New York Times article by renowned architecture critic Ada Louise Huxtable derailed plans to destroy much of downtown Salem. The symposium, called “Mightier than a Wrecking Ball,” will gather prominent architecture critics, historians and other experts to consider what almost happened in Salem and how the issues at play in 1965 remain critical today.
“We are excited about this event and honored that so many nationally prominent experts will be joining us,” said Jennifer Firth, president of Historic Salem. “In addition to highlighting such a significant moment in history, their dialogue will inform our present-day discussions about preservation.”
Christopher Hawthorne, The Los Angeles Times architecture critic, will give the keynote address. Historic New England President and CEO Carl Nold will moderate a scholarly panel featuring Eric Gibson, leisure and arts editor of The Wall Street Journal; Elizabeth Padjen, founder and former editor of Architecture Boston; and Donovan Rypkema, a development consultant and authority on the economics of preservation.
The symposium was conceived by Historic Salem and is organized in partnership with the Peabody Essex Museum and Historic New England. The project has been funded in part by a grant from the Johanna Favrot Fund for Historic Preservation of the National Trust for Historic Preservation and by many generous individual donors.
Of the National Trust funding, Firth remarked, “We are extremely proud to have received this grant. The competition for these funds is intense, and this award underscores the significance of our event.”
Emily Udy, preservation manager for Historic Salem, elaborated on the significance of 1965 to the preservation movement. “Huxtable’s article signaled a turning point in public opinion both in Salem and nationwide, and it was important in leading to the National Preservation Act of 1966.” she said. “But local advocacy also played an enormous role in saving Salem. Few people who live in and love Salem know about those urgent efforts. They too will be featured in the symposium.”
“Mightier than a Wrecking Ball” will be held Friday, September 25, 2015, 1:30 p.m. to 5:00 p.m. at Morse Auditorium in the Peabody Essex Museum. Tickets are $45 and may be purchased on the PEM website at PEM.org/calendar or by calling 877-PEM-TIXX.
Historic Salem plans two related events for Saturday, September 26: a morning walking tour of the area that faced demolition, and a 1965-themed party called Mid/Mod, which will capture the free-wheeling spirit of 1965 with an 18-piece band featuring Motown, doo-wop and jazz. The night will include themed drinks and food, a Polaroid photo booth, a raffle, creative attire, and a dance contest. Mid/Mod will be held at Ames Hall, 290 Essex Street in Salem, Saturday, September 26, 8:00 p.m. to 11:30 p.m.. Tickets are $45 before September 1, $55 thereafter and at the door. Tickets are available at HistoricSalem.org.
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. On the following dates remain for the 2015 Season:
Thursday, Aug 20th - 5:45-7:45 p.m.
Thursday, Sept.17th - 5:45-7:45 p.m.
Sunday, Oct. 4th - 9:00-11:00 a.m.
The New Tour: Innovations in Place-based Storytelling
September 24-25, 2015 at Alumnae Hall, Brown University, Providence, RI
Join us for the second annual Living on the Edge conference and explore the innovations that will help us preserve healthy coastal communities.
SUB URBANISMS: Casino Urbanization, Chinatowns, and the Contested American Landscape, curated by designer Stephen Fan, is an award-winning, personally rooted, anthropological case study that explores the controversial conversion of suburban single-family homes into multi-family communities by immigrant Chinese casino workers in Connecticut. Through photographs, interviews, mappings, infographics, and architectural representations/ installations, the exhibition seeks to humanize and interpret these informal suburban retrofits in light of local and global economic realities, the cultural backgrounds of these new immigrants, and evolving ideas of domesticity. Addressing the assumptions, norms, and public policies that determine how most Americans live, the exhibition reveals the negotiations made when immigrant cultural beliefs and pragmatism conflict with suburban American social, aesthetic, financial codes, and values. With a regional focus and global reach, it also provides insight into the long-term effects of 9/11 on the New York Chinatown service industry as a significant factor behind the influx of Chinese labor seeking employment at the region's casinos, and the formation of this satellite suburban Chinatown. With creative implications for the future of housing design and habitation, SUB URBANISMS offers a powerful inquiry into the ways in which culture shapes our lives and our homes.
About Museum of Chinese in America:
MOCA’s mission is to celebrate the living history of the Chinese experience in America, to inspire our diverse communities to contribute to America’s evolving cultural narrative and civil society, and to empower and bridge our communities across generations, ethnicities, and geography through our dynamic stories.
For more information, please visit www.mocanyc.org
Chinese Style: Rediscovering the Architecture of Poy Gum Lee, 1923 - 1968 is the culmination of three years of research by architectural historian and curator, Kerri Culhane. The exhibition at the Museum of Chinese in America (MOCA) will examine Poy Gum Lee's hybrid modernist influence in New York Chinatown through a retrospective of his life's work in China and the U.S., and a study of his architectural integration of eastern ideas and western technology.
Lee's compelling body of work reflects a cultural transition period in both China and New York Chinatown. The exhibition features more than 80 artifacts, including photographs, architectural drawings and blueprints for both realized and unrealized projects, and other materials that document and explore Lee's 50-year long career in the east and west. Though Lee is revered for his work in China, the exhibition is the first major study of his work undertaken in the U.S.
Lee was the architectural consultant for the Chinese Consolidated Benevolent Association’s building on Mott Street (1959) and the On Leong Tong Merchant’s Association at Mott & Canal Street (1948-50) – the most prominent Chinese modern building in Chinatown. Among his highly visible commissions, Lee designed the Chinese-American WWII Monument in Kimlau Square (1962), a modernist take on a traditional Chinese pailou, or ceremonial gate; the Lee Family Association (ca. 1950); and the Pagoda Theatre (1963, demolished).
About Museum of Chinese in America:
MOCA’s mission is to celebrate the living history of the Chinese experience in America, to inspire our diverse communities to contribute to America’s evolving cultural narrative and civil society, and to empower and bridge our communities across generations, ethnicities, and geography through our dynamic stories.
For more information, please visit www.mocanyc.org
The annual Conference on Illinois History is scheduled for September 24-25, 2015, at the Prairie Capital Convention Center in downtown Springfield and is the state's largest meeting devoted to the history of the Prairie State.
ISSUE 04 INSTRUMENTS OF SERVICE
“Instruments of Service” is a class of legally protected work products defined in the American Institute of Architects’ “A201-2007 General Conditions” as “representations, in any medium of expression now known or later developed, of the tangible and intangible creative work performed by the Architect.” In practice, instruments are any drawing, model, calculation or specification created for a client, copyrighted by the architect as a design “recommendation” and trafficked between intellectual, digital and real property. As research, everyday and experimental instruments are assemblages of tools and materials, allography and autography that move from Skype to ‘the street’ through theaters of peer review and publicity, gender and entertainment. Under or outside of contract, what is the value of the architect’s recommendation? Who provides material support for practice and research?
Professional practice is politically adjacent to public service yet economically classified as a tertiary consumer service—between library and iPhone, hygiene and finance, hospitality and the police. Mediating across the table between architects and an ‘other,’ instruments of service also establish a fictional protagonist if not yet an accomplice or client, a prenuptial agreement if not yet a trademark or patent. How do new practices extend the idea of service? What lies between ‘the good’ and goods? As new design representations emerge from the interstices of language, calculation and visualization, instruments demonstrate architecture as both ontology and epistemology. What is the value of a common understanding of fact and form? of standardized notation or measure? As new fabrication methods and human-machine interfaces remake the physical world, instruments place the ‘model’ in an expanded field. Do biomimicry, new media and advanced manufacturing turn the molecule, database and robot into an instrument of service? What are the consequences of better living through chemistry, gizmo or portable document file, and through construction and building?
Issue 04, “Instruments of Service,” questions the status of the instrument and of service. What does it mean to serve? What is left to instrumentalize? to monetize? to influence? We welcome scholarship and speculative projects that demonstrate spaces of encounter between “tangible and intangible creative work” through design practice, business models, new forms of representation and activism.
Guest Editor: Jennifer W. Leung
We seek thoughtful and playful approaches to applied research on the built environment. Contributions may include opinion pieces, examinations of pivotal moments in the history of applied research, investigations of the protocols of research practice and photo essays on research projects. Articles are not limited in length (600-2000 words, recommended) and can be published as text, photo essays, videos or other media. Contributors are encouraged to demonstrate techniques and protocols in meticulous detail. Eligibility to contribute is not limited by institutional affiliation or area of expertise.
To apply, submit an abstract in one pdf document (4MB max) to firstname.lastname@example.org:
- Info: title and subtitle
- Bio: author name and bio
- Submission Type: critique or project
- Abstract: 300 words max
- Position: Design, website or writing samples
Deadlines for Issue 04 are as follows:
- Abstracts due September 1, 2015.
- Contributions (once selected) due October 1, 2015.
Since 1956, the Graham Foundation has provided direct funding to individuals to produce publications, exhibitions, films, research, and other projects that foster the development and exchange of diverse and challenging ideas about architecture and its role in the arts, culture, and society.
To apply for an individual grant, applicants must submit an Inquiry Form—the first stage of a two-stage application process. The annual deadline for the Inquiry Form is September 15.
The Graham Foundation offers two types of grants to support projects by individuals: Production & Presentation Grants and Research & Development Grants. For more information about foundation grants and to learn if your project is eligible for funding, visit the website.
KEEPING HISTORY ABOVE WATER
An international, multidisciplinary conference focused on
saving historic structures and neighborhoods in the face of rising tides
April 10-13, 2016
Newport, Rhode Island
Organized by the Newport Restoration Foundation in partnership with the Union of Concerned Scientists, The National Trust for Historic Preservation, the University of Rhode Island’s Coastal Resource Center, Roger Williams University and Salve Regina University
Keeping History Above Water, slated for the spring of 2016 in Newport, Rhode Island, will tackle a broad range of issues—from theoretical to practical, local to global—related to protecting coastal communities and their historic built environments. Over four days, experts in historic preservation, architecture, engineering, oceanography, and many other disciplines, from across the United States and abroad, will convene to examine threats, explore solutions, and share ideas. The Program Committee invites proposals for short papers (15 to 25 minutes) and workshop/seminar sessions (1.5 to 3 hours) from practitioners, academics and policy makers that address (but are not limited to):
• Fortification and retrofitting individual buildings for resiliency against inundation, including engineering solutions for threatened properties and communities
• Policies and regulations that make more resilient historic districts in coastal regions
• Communication strategies for raising awareness and educating a broad spectrum of stake holders in historic properties and communities
• Holistic consideration of communities’ cultural resources, including living cultures and intangible cultural heritage
• Case studies – from anywhere in the world – in any of the above areas
Audience and Program: The conference will be marketed to academics and professionals in a variety of disciplines including preservationists, town and city planners, elected officials, government personnel/policy makers, architects, engineers, environmentalists, and builders. The conference program will include keynote speakers and plenary addresses from major scholars and practitioners in key fields, as well as panel presentations and roundtable discussions, workshops, ample opportunity for networking, and pre-conference excursions to historic sites in Newport and environs.
Location: Conference sessions and accommodations (with favorable room rates already negotiated) will be located at the Newport Marriott Hotel (25 America’s Cup Avenue, Newport). Located on the waterfront and immediately adjacent to Newport’s historic “Point” neighborhood (where a significant concentration of 18th and 19th century buildings are at risk), the Newport Marriott Hotel is also a convenient location from which to explore other historic sites of the city and surrounding areas of Aquidneck Island.
To have a paper considered for presentation (stand alone or as part of a panel), please send a proposal of no more than 500 words, including estimated time for the presentation, along with CV, to HistoryAboveWater@NewportRestoration.org. The deadline for submitting paper proposals is September 15, 2015.
The program committee welcomes proposals for 1.5- to 3-hour workshop and seminar sessions with a focus on, but not limited to, practical approaches to addressing the threat of sea level rise and other water catastrophes in historic structures and neighborhoods. These are smaller breakout sessions scheduled for the final morning of the conference (Wednesday, April 13, 2016) that can accommodate up to 30 participants each, and can have more than one instructor. To have a session considered, please submit a written proposal of no more than 500 words (can include images) and a CV for each instructor to HistoryAboveWater@NewportRestoration.org. The deadline for submitting workshop and seminar proposals is September 15, 2015.
Anything that you think should be included but don’t see represented here? The program committee is happy to have suggestions -- for panels, table displays, and other means of communicating knowledge and experiences in any area that connects to the theme of the conference.
Please note that presenters will likely have some travel and accommodation subsidy available to them.
A day long symposium of distinguished lectures at the University of Virginia School of Architecture.
Call for Submissions
Eighteenth-Century Studies, a cross-disciplinary journal committed to publishing the best of current writing on all aspects of eighteenth-century culture, is planning an upcoming special issue dedicated to the theme of the city in the long eighteenth century. Cities were outward-facing centers of connection, through networks of trade, communication, and political authority, but they were also inward-facing communities with distinctive cultures and social lives. With increased urbanization came increased theorization about the effects of city life and new methods of policing and control. We invite submissions which reflect on topics related to these themes or on other ways in which contemporaries interpreted and understood the experiences of city life. Broadly speaking, how did societies in the long eighteenth-century physically and intellectually construct their cities and what were the consequences, real or perceived, of “the city”? What characteristics defined the eighteenth-century city, and to what extent might the eighteenth century be described as an urban one?
Submissions may originate in any of the disciplines and research methodologies encompassed by eighteenth-century studies, broadly construed (history, philosophy, literature, social sciences, and the arts); those which focus on the Caribbean, Latin America, Asia, or Oceania are especially encouraged.
Submissions should be 7,000–9,000 words, including notes, and may be sent to email@example.com. The deadline for consideration for this issue is January 15, 2016. Please contact the Managing Editor at firstname.lastname@example.org with any questions.
The years between 1970 and 1990 were characterized by the rise of postmodernism in architecture in Western and Eastern Europe. During this period, the 1980s in particular, several socialist countries also witnessed processes of liberalization and economic reforms, and the overthrow of state leaderships in 1989/90, which would mark the end of Europe's political division. Architecture, in these processes, became a means through which to reframe identities, reconsider relationships to history, and thus call into question not only the modern project but also its wider political promises. The aim of this two-day international conference is to revisit this historic period, and to analyse and compare parallel developments in architecture and urban design on both sides of the Cold War divide against the backdrop of unfolding geopolitical transformations.
While postmodernism’s impact could be felt across different disciplines, its origins can be traced most strongly in architecture and urban design. After all, the term and concept postmodernism first emerged in these disciplines. Since the mid-1960s, an increasingly critical attitude toward functionalist modernism developed within architecture that led to a spread of revisionist thinking and a growing concern for historicism, symbolism and meaning. This change was paralleled and sustained by a proliferation of architectural theory, influenced in particular by phenomenology and semiotics. During the 1970s and 1980s, the recognition of architecture’s capacity to reflect and ground identity reignited the search for ways to represent local, national and regional traditions through built form.
The conference will address, among others, questions concerning:
- the chronology of the turn to history in architecture and urban design in different European countries.
- how terms and concepts such as modernism and postmodernism were discussed by architects and theorists in East and West.
- the relationship between postmodern discourse and mainstream architectural culture during the 1970s and 1980s, asking how elements of critique and opposition manifested themselves.
- role played by questions of heritage and identity in architectural practice, and the specific forms this took in various countries in Europe.
- the impact of historicism and postmodernism on the development of cities in Eastern and Western Europe.
- the mechanisms of international exchange and transfer that allowed postmodernism to become a global phenomenon.
In recent years, postmodernism received growing attention though both scholarship and popular exhibitions such as "Postmodernism – Style and Subversion 1970—1990" at the V&A and the Landesmuseum Zürich (2012). However, the focus of academic research and public shows tended to be on Western Europe and North America, where postmodernism's conceptual basis was developed and where, arguably, its impact could be felt most strongly. Thus far, parallel developments and exchanges with Eastern Europe have played a marginal role. A complex comparative analysis of these developments that accounts for their heterogeneous nature is missing. The question whether and to what extent the term and concept postmodernism can be usefully applied to the Eastern European context remains insufficiently addressed.
Our objective is to examine the historical turn in architecture in Eastern and Western Europe during the 1970s and 1980s as a common cultural legacy, situated in relation to fundamental and far-reaching socio-economic and political changes – the erosion of communist regimes, their eventual disintegration and the triumph of global neoliberal capitalism. We propose a framework that treats contemporaneous architectural phenomena in Western and Eastern Europe on equal terms and side by side, thus asking for mechanisms of interconnection, mutual exchange, transfer, and translation across the political divide.
The conference will bring together an international group of established and younger academics and practitioners, including a number of former protagonists. Keynote lectures by Ákos Moravánszky, Stanislaus von Moos, Joan Ockman, and Karin Šerman.
Attendance of the conference is free of charge. We kindly ask you to register your interest by sending an email to email@example.com until 31 August 2015.
The Graham Foundation, in partnership with the 2015 Chicago Architecture Biennial, is pleased to present Barbara Kasten: Stages, the first major survey of the work of Chicago artist Barbara Kasten. Organized in conversation with the artist and with full access to her extensive archive, the exhibition will include works spanning her nearly five-decade engagement with abstraction, light, and architectural form. Since the 1970s Kasten has developed her expansive photographic practice through the lens of many different disciplines, including sculpture, painting, theater, textile, architecture, and installation. Well known within photographic discourse, more recently she has begun to be reconsidered within the broader contexts of architectural theory and contemporary art.
Barbara Kasten: Stages is organized by the Institute of Contemporary Art, University of Pennsylvania and is curated by ICA Curator Alex Klein.
The exhibition is accompanied by a fully illustrated catalogue co-published by the Institute of Contemporary Art and JRP|Ringier that includes a biography of the artist a conversation between Kasten and artist Liz Deschenes, and new scholarly essays by the curator Alex Klein, art historian Jenni Sorkin, and architectural historian and Graham grantee Alex Kitnick. Copies of the exhibition catalogue are available for purchase in the Graham Foundation Bookshop.
Additionally, the Graham Foundation and Distributed Art Publishers will co-publishBarbara Kasten: The Diazotypes, a special small-run artist book of Kasten’s early diazotypes which will be released at the exhibition opening on October 1, 2015, and will be available for purchase at the Graham Foundation Bookshop.
Barbara Kasten (born 1936, Chicago; lives Chicago) trained as a painter and textile artist, receiving her MFA from the California College of Arts and Crafts (CCAC) in Oakland in 1970. There she studied with pioneering fiber artist Trude Guermonprez, a former teacher at Black Mountain College and an associate of Anni Albers. In 1971 Kasten received a Fulbright to travel to Poznań, Poland, to work with noted sculptor Magdalena Abakanowicz. During the 1980s she embarked on her Constructs series, which incorporates life-size elements such as metal, wire, mesh, and mirrors into installations produced specifically for the camera. Kasten was one of the first artists to be invited by Polaroid to use its new large format cameras, and it was with these that she made many of her best known works, her palette becoming bolder in response to the lush, saturated quality of the medium.
In the mid-1980s Kasten stepped out of the studio and began working with large architectural spaces. Institutions such as the High Museum of Art in Atlanta designed by Richard Meier and the Museum of Contemporary Art in Los Angeles designed by Arata Isozaki, as well as the World Financial Center in New York designed by César Pelli, were eager to showcase their new postmodern buildings via the cinematic lighting, mirrors, and fabrications that were part of her monumental productions. Following her architectural projects she continued working on a large scale, creating dramatic displays in the midst of ancient ruins. In the intervening years she shifted her focus to talismanic objects and artifacts, returning to the cyanotype process she had embraced at the beginning of her career. Her most recent work has taken Kasten back to the studio, exploring a more minimal palette with many of the same materials that shaped her early constructed photographs. Over the years her vocabulary and interests, including her ongoing experimentation with constructions, sets, and installations at the human scale, have provided a through-line and given a unity to her artwork, even as she has experimented with multiple processes, from cyanotypes and Polaroids to Cibachromes and video installations.
Kasten’s photographs of studio constructions and cinematic stagings are included in major museum collections such as the Museum of Modern Art in New York, the Whitney Museum of American Art in New York, the Museum of Contemporary Art in Chicago, and the Los Angeles County Museum of Art.
Alex Klein is the Dorothy and Stephen R. Weber (CHE’60) Curator at the Institute of Contemporary Art, University of Pennsylvania. Selected exhibitions and initiatives at ICA include Barbara Kasten: Stages (2015), the first major survey of the artist's work; Consider the Belvedere: Tamara Henderson and Julia Feyrer (2015); AVANT-GARDEner: Ian Hamilton Finlay (2014, co-curated with Lynne Farrington); Vishal Jugdeo: An Education in the Logic of Leaves (2014); Excursus I-IV featuring Reference Library, East of Borneo, Ooga Booga, and Primary Information (2011–2013); and First Among Equals (2012, co-curated with Kate Kraczon). Most recently she has served as an agent in the Carnegie Museum of Art's Hillman Photography Initiative where she co-curated with Tina Kukielski the exhibition Antoine Catala: Distant Feel (2015) in association with the New Museum Triennial, Surround Audience. Her writing has been published in collections including How Soon Is Now? (LUMA, 2012) and The Human Snapshot (Sternberg Press / CCS Bard, 2013), and she is the editor of the critical volume on photography, Words Without Pictures(LACMA/Aperture, 2010). Previously she held positions in the Wallis Annenberg Photography Department at the Los Angeles County Museum of Art, the Roski School of Fine Arts at the University of Southern California, and The Metropolitan Museum of Art. She is the co-founder of the editorial project and publishing imprint Oslo Editions.
Major support for Barbara Kasten: Stages has been provided by The Pew Center for Arts & Heritage, with additional support from the Nancy E. and Leonard M. Amoroso Exhibition Fund, Pamela Toub Berkman & David J. Berkman, Bortolami, the Carol T. & John G. Finley Fund, Kadel Willborn Gallery, the Marjorie E. and Michael J. Levine Fund, Toby Devan Lewis, Amanda & Andrew Megibow, Stephanie B. & David E. Simon, Babette L. & Harvey A. Snyder, and Meredith L. & Bryan S.Verona.
The Institute for Patient-Centered Design has opened registration for its inaugural Patient-Centered Design Innovation Summit. The Summit will take place from Sunday, September 27 until Tuesday, September 29, 2015 in Charleston, SC. Its events will be held at the Medical University of South Carolina (MUSC), a leading medical research institution.
A multidisciplinary group of leaders in the health facility design profession will converge on the Summit, along with researchers, clinicians and patients. "This event has been designed with limited seats to allow our participants to collaborate in small groups, form business relationships and for each person to contribute to patient-centered design solutions," says Tammy Thompson, the Institute's president. "Using the state of the art Simulation Center at MUSC, we will be able to conduct multiple simulation labs during the program."
The Institute will also build a pediatric oncology model as its newest Patient Experience Simulation Lab. Inspired by ERDMAN's winning design submission selected for the 2014 Family-Centered Cancer Care Design Competition, this model will be unveiled at MUSC's Hollings Cancer Center, the largest academic cancer center and only National Cancer Institute in South Carolina. It will be on exhibit there for three days during the Summit. "This will create an educational opportunity that is not available at most institutions and hopefully have a lasting effect on those involved," says Dr. Rozanne Wille, the mother of little "Hendo" whose battle with childhood cancer inspired the design competition. As a juror of the competition, Dr. Wille continues to advise the project, and she serves on the Summit's faculty to share her experience as a parent and a physician with attendees.
About the Institute for Patient-Centered Design
The Institute for Patient-Centered Design, Inc. is a nonprofit organization that educates health facility designers and stakeholders on the needs of patients, families and clinicians in the health care environment. It is the first design related organization to bring patients into live simulation activities at educational events to inspire better accommodations for patients and families. The Institute demonstrates its commitment to improve the patient experience by capturing actual stories from patients and families, reminding designers of the impact their creations have on real life experiences. In an effort to improve patient outcomes, the Institute has designated part of the proceeds from the Patient-Centered Design Innovation Summit to be contributed to the pediatric oncology programs at MUSC.