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.
The Forum for Architecture, Culture and Spirituality is hosting its 2016 International Symposium in the town of New Harmony, Indiana, whose origins can be traced to the religious and secular utopianism of Georg Rapp and Robert Owen. The central theme of ACS8 is utopia as an idea and ideal, real and imagined, in all of its ramifications for architecture and the built environment, culture, politics, and spirituality. We seek to reflect on utopias past, to explore utopia in the presence of reality, and to speculate on how designers can take up utopian ideas and action in the future.
This event will promote current scholarship concerning the social context, legacy, and preservation of the built environment at HBCUs like Morgan and others around the country. Seen as the first step of a larger academic initiative, the symposium will bring together scholars and professionals to discuss the history of HBCU’s architecture, their campus planning, and the landscape architecture which connected both. The tension between an institution’s architectural legacy and its vision for the future characterizes many places of higher learning in the United States; this symposium will, therefore, address specifically the competing roles of preservation, conservation, and new construction at today’s HBCUs. Our goal is to establish the topic in its own right and to attract participants from a wide range of institutions.
Symposium topics will include the unique characteristics of HBCU campuses, the special achievements of African-American architects on those campuses, and the significance of HBCU buildings listed or eligible for listing on the National Register. Special attention will be given to projects built during the watershed years of Modern Architecture in the three decades following World War II.
Heroic: Concrete Architecture and the New Boston book cover © over,under
Thursday November 12, 2015. Doors open at 6:00 pm. Lecture starts at 6:30 pm.
RSVP HERE Mark Pasnik and Chris Grimley, principals of the Boston-based over,under, will lecture about their Heroic project on Thursday, November 12, as part of MAS Context’s 2015 Fall Talks series. The lecture will take place at the Charnley-Persky House, headquarters of the Society of Architectural Historians. Heroism and Hubris
After decades of stagnancy, Boston initiated a radical transformation in the 1960s under the banner of the New Boston. Controversial urban renewal programs and monumental architectural works like Boston City Hall, the Christian Science Center, and the Government Service Center were used to change a “hopeless backwater” into a modern, thriving city. Heroic: Concrete Architecture and the New Boston presents the historical context, buildings, and architects—including luminaries such as Le Corbusier, I. M. Pei, Paul Rudolph, and Marcel Breuer—that defined Boston during this remarkable period. It outlines the compelling story of a city, a material, and a movement while considering anew this earlier generation’s legacies—both troubled and inspired. Many of the structures from this era have since suffered from neglect, misleading labels like “Brutalism,” and have fallen dramatically from public favor. Authors Mark Pasnik and Chris Grimley will discuss their original civic-minded aspirations as well as the cultural and aesthetic implications of preservation today. Chris Grimley
is a principal of over,under in Boston, Massachusetts. With expertise in architecture, urban design, graphic identity, and publications, the firm’s portfolio ranges in scale from books to cities. Chris is co-director of the pinkcomma gallery and has designed books for Rockport Publications and Rizzoli Press. Mark Pasnik
is a principal of over,under in Boston, Massachusetts. The firm’s portfolio includes buildings, exhibitions, urban designs, publications, and graphic projects for clients in the Middle East, Central America, and the United States. Mark is co-director of the pinkcomma gallery and an associate professor of architecture at Wentworth Institute of Technology. For more information about over,under, please visit www.overcommaunder.com
. You can read their contribution about Expo Boston ’76
from our Improbable
Copies of the book Heroic: Concrete Architecture and the New Boston will be available for purchase.
This talk is organized by MAS Context in collaboration with the Society of Architectural Historians and presented in partnership with the Chicago Architecture Biennial.
Archifest, the annual architecture festival organised by Singapore Institute of Architects, returns with a thought-provoking theme 'What Future?'. The two-week-long festival features more than 30 events including special curated exhibitions, Architours to explore hidden architectural gems; Archifilms featuring quintessential architectural films and documentaries; interactive model-building installation We Build This City; forum WHY ARCHITECT? to share insights on how to realise your dream home; design workshops Scratch The Future for kids and an arresting series of photographs documenting Singapore's land spaces in digital art exhibition Plot, by celebrated photographer Caleb Ming.
Gold: The 33rd Annual Conference of the Society of Architectural Historians, Australia and New Zealand (SAHANZ) 6-9 July, 2016
Melbourne School of Design, University of Melbourne, Australia
Hosted by the Faculty of Architecture, Building & Planning and ACAHUCH (Australian Collaboratory for Architectural History, Urban and Cultural Heritage)
Call for Papers: Abstracts due 14 October 2015
Call for Plenary Sessions: Proposals due 4 September 2015
Gold, for millennia, has fascinated humanity and possessed an extraordinary value amongst most civilizations. It was the favoured ultimate currency in many cultures and served as the signal form of capital: both its accumulation and its waste. It was the catalyst of wars, and constituted its spoils. Gold is the adjective to describe mythical lands: for Marco Polo, Japan was ‘Zipangu, the Land of Gold’. There have been venerated building types celebrating religious and cultural beliefs like ‘golden’ temples and ‘golden’ houses like Nero’s Domus Aurea. There have been buildings to protect gold, buildings which openly display it. In art and architectural historiography, there have been ‘golden’ periods and ‘golden ages’. Gold is about luxury, glamour and excess. It also has as its direct opposite objects of no value, things that might be described as worthless.
The 33rd Annual SAHANZ Conference to be held in Melbourne in July 2016 is to be devoted to the exploration of architecture and gold. The public announcement in 1851 that gold had been discovered in the newly created state of Victoria changed the course of Australian history. Melbourne, the state’s capital, grew to be one of the world’s great provincial metropolises and gold was its motor. In 1854, the Victorian Gold Discovery Committee observed that “The discovery of the Victorian Goldfields has converted a remote dependency into a country of world wide fame; it has attracted a population, extraordinary in number, with unprecedented rapidity; it has enhanced the value of property to an enormous extent; it has made this the richest country in the world; and, in less than three years, it has done for this colony the work of an age, and made its impulses felt in the most distant regions of the earth.” Melbourne is thus the ideal conference venue for critically examining gold and the history of the built environment.
Papers are invited that examine and reflect on various aspects and examples of this theme within different cultural contexts. There are many ways that this can be approached as suggested by the following sub-themes:
- architecture and capitalism;
- colonial and neo-liberal transformations in Asia and the circulation of people and commodities;
- veins of gold: colonisation, imperialism and neo-liberalism;
- Victorian prosperity: the phenomena of gold rushes in Australia, New Zealand, the United States, Canada, South America and elsewhere in the world;
- mining towns: their landscapes, foundation and sometime disappearance;
- gold rushes as triggers for migration and the transfer of ideas, people and technologies;
- gold diggers: labour migration, mining and casino cultures;
- golden lands, golden kingdoms and ‘gold’ places like the Gold Coast and the Golden Horn in Istanbul;
- buildings and gold: treasuries, golden houses, golden temples, even the Smithsons’ Golden Lane housing;
- gold medals: as accolades in architecture, for architects, expositions as in sport;
- gold and its connotations of ornament, gilding, and the rise of décor;
- the meaning of gold in different cultural settings like Japan and Mexico;
- Spandau Ballet’s ‘Gold’ and 1980s architecture culture;
- ‘golden days’ and a ‘golden age’: questions of architectural history and historiography
- gold and the idea of preciousness in conservation;
- gold, alchemy, materiality and craft;
- gold and the interior (picture palaces, James Bond, the ‘solid gold’ disco era and 1970s glamour);
- penniless: spaces of abjection in new global economies;
- “All that glisters is not gold”: reflections on architecture and authenticity
Abstracts of no more than 300 words should be submitted via the Online Conference Paper Management website, using the following link www.ocpms.com.au/conference-papers/login.php?confID=37.
You will need to create a Login ID and password to allow secure uploading of your abstract. Abstracts will be blind reviewed by at least two members of the Conference Academic Committee. External referees may be called upon to review an abstract if needed. Full papers (4500 words, including notes) will be double blind peer reviewed and those accepted for presentation at the conference will be published on the conference website, with print-on-demand editions of the full conference proceedings available after the conference at additional cost.
Please note that in addition to a sole-authored proposal, a participant may also be named on a second, co-authored submission but no more. Irrespective of who would deliver the latter paper, if accepted for presentation and publication, each author is required to register to attend the conference. Authors may not present more than one paper as a sole author. Authors may not present more than two papers as a co-author.
Work submitted for review and for publication in the conference proceedings should be original research that has not previously been published elsewhere, or work that has undergone substantial development from a prior publication.
Plenary Session Proposals and Abstracts
We are also seeking proposals for plenary sessions relating to the theme of Gold, which will consist of a chair and 4 speakers. Please submit proposals to conference conveners via email below. The purpose of the plenary session is to provide a more focused forum for academics already engaged in a specific topic with additional time for discussion and critical feedback. Plenary sessions will be allocated two hours in which speakers will present truncated 15-minute presentations, leaving one hour for discussion and debate. Plenary session participants are encouraged to distribute final accepted papers to each other for advanced reading before the conference. SAHANZ welcomes themed Plenary session proposals from SAH and EAHN members.
Interested plenary session chairs are asked to submit a 300-word proposal of the session by 4 September. Proposals will then undergo review by the Conference Academic Committee, and if accepted, circulated and advertised on 14 September 2015. Please note, inclusion in a plenary session does not guarantee acceptance into the final program and is dependent on the paper review process. All papers, including the papers of session chairs, are considered individual submissions, which will undergo the same double blind peer review process mentioned above. If plenary sessions fail to gather enough qualified papers, the session may be dissolved and accepted papers will be redistributed into the general conference program.
Participants interested in presenting at a specific plenary session should indicate preference along with abstract submission. Abstracts, which have been accepted by the peer review process but not accepted into plenary sessions, will be invited to submit the full paper for peer review for the general program.
Plenary Session Proposals due: 4 September 2015
Plenary Session acceptance notification: 11 September 2015
Plenary Sessions posted: 14 September 2015
Abstracts due: 14 October 2015
Abstract acceptances sent out: 26 October 2015
Papers due for refereeing: 1 March 2016
Final papers due: 16 May 2016
Conference: 6-9 July 2016
Dr AnnMarie Brennan (firstname.lastname@example.org) and Prof Philip Goad (email@example.com)
Nov 5-8, 2015
The exceptional quality and quantity of noteworthy architecture in Columbus provides the architecture enthusiast a rare opportunity to see much in a relatively short period of time. This program will include: a private tour of the J. Irwin & Xenia Miller House, the jewel in the Columbus architectural crown; multiple guided coach and walking tours with access to numerous interiors, some by special arrangement; an introductory presentation by Anthony J. Costello, FAIA, Irving Distinguished Professor Emeritus of Architecture at Ball State University, and a tour led by T. Kelly Wilson, Director and Associate Professor at the Indiana University Center for Art and Design Columbus (IUCA+D). The trip will conclude with a tour of selected architectural highlights of Indianapolis.
The itinerary is patterned after the successful Arbuckle Architecture Tours 2014 Columbus tour. Once again, the goal has been to create the best, most thorough and enjoyable tour possible for a small group. We will stay at the only boutique hotel in Columbus, the welcoming Hotel Indigo Columbus Architectural Center, centrally located downtown within walking distance of the best restaurants, where we will dine. John S. Arbuckle will lead the group.
Here are comments from participants in the 2014 Columbus tour:
“I was thrilled with the tour. It was all perfect and I don’t know how it could have been better. I am looking forward to the next one.”
Jean-Luc Briguet - New York, NY
“Your tour was terrific. It was all beautifully planned and executed, with everything coming off without a single hitch, which I think is remarkable.”
George Sullivan - Alexandria, VA
“We thought it was great”
George Calderaro & William Megevick - New York, NY
“Very well organized and planned tour!”
Jim Heegeman - Arlington, VA
Full details and registration information:
Registration deadline: October 14, 2015
Nominations for the BxW DC competition are now OPEN! Anyone may submit a BxW DC Nomination by completing the online nomination form
or by downloading the PDF form
. If using the PDF form, please complete and mail with payment (if applicable) to:
Beverly Willis Architecture Foundation
Attn: Erin Sweeney, Program Manager
601 West 26th Street, #325-31
New York, NY 10001
Also, if you wish to submit images along with a printed form, please email them to BxWDC2015@gmail.com
, along with the completed Image Release Form
BxW DC Nominations will be accepted through October 31st, 2015. Our jury of experts will consider all eligible BxW DC Nominations to be honored as competition winners. Winners will be announced in December 2015.
Monuments are deliberate gestures—objects or structures created to commemorate an event, person or era. Their meaning is usually imposed, and they often serve as focal points for aspirational civic and political attributes like valor and sacrifice, or to underscore a foundational political narrative. But their meaning can transform, changing over time as the relevance of their symbolism ebbs and flows due to social and political shifts. Like monuments, architecture and photography are also inflected with a grace of intention, and both have the ability to commemorate or represent a nation, event, time or place. The act of photographing monuments and buildings transforms them, sometimes revealing some of the original qualities and more closely evoking the response that they were originally intended to have. And photographs have an inherent memorial quality. This group exhibition examines the work of international artists, some of whose work addresses actual monuments, some whom look at architecture and its relationship to memory and how its importance and symbolism can shift over time, and others approach the idea of the future monument.
This exhibition is generously supported by the Graham Foundation for Advanced Studies in the Fine Arts.
The 2015-2016 season is sponsored by The Andy Warhol Foundation for the Visual Arts.
Vertical Urban Factory book cover © Courtesy of the author Thursday October 22, 2015. Doors open at 6:00 pm. Lecture starts at 6:30 pm.
$10 suggested donation at the door (includes wine)
Nina Rappaport will lecture about her project Vertical Urban Factory on Thursday, October 22, as part of MAS Context’s 2015 Fall Talks series. The lecture will take place at the Charnley-Persky House, headquarters of the Society of Architectural Historians.
Vertical Urban Factory
, a traveling exhibition and book with Actar publishers, focuses on the spaces of production in cities—both Modernist and contemporary—and incorporates the architectural, technological, and economic factors that shape their design, function, and social impact. In the project, Nina addresses the history of the urban factory in its vertical typology while looking forward, provoking new concepts for the future of urban manufacturing. She underscores the necessity of creating new paradigms for sustainable, hybrid, and transparent urban industries that also take into account the worker in the city and the new economy. For more information about the project, you can visit www.verticalurbanfactory.org
. Nina Rappaport
is an architectural critic, curator, historian, and educator. For eighteen years she has been publications director at Yale School of Architecture, for which she edits the bi-annual magazine Constructs, exhibition catalogs, and the school’s book series. She directs the project Vertical Urban Factory, which includes a traveling exhibition (Detroit, New York, Toronto, London, Lausanne), public programs, and a book published in 2015 by Actar. She curated exhibitions on Ezra Stoller in Washington, D.C., The Swiss Section at the Van Alen Institute, and Saving Corporate Modernism, at Yale. She authored the book Support and Resist: Structural Engineers and Design Innovation (Monacelli Press, 2007) and co-edited the books Ezra Stoller: Photographer (Yale University Press, 2012) and Long Island City: Connecting the Arts (Design Trust for Public Space and Episode Books, 2008). She has taught at Parsons School of Design, Syracuse School of Architecture in New York, and Barnard College, among others. Her projects have received grants from the Graham Foundation for Advanced Studies in the Fine Arts and New York State Council on the Arts. She has written numerous essays on structural design, architecture, and global industrial landscapes. She is a founding board member of Docomomo US and NY/Tri-State. For more information about her, please visit www.ninarappaport.com
. You can also read her article about Vertical Urban Factory
from our Production issue
This talk is organized by MAS Context in collaboration with the Society of Architectural Historians and presented in partnership with the Chicago Architecture Biennial. Funding for this talk is provided by Skidmore, Owings & Merrill LLP.