The editors of Preservation Education & Research (PER) invite papers on the use of the digital humanities to teach, research, communicate, and experience aspects of the historic environment for the 10th (2017) edition of the journal. Digital humanities are commonly defined as the application of digital content, methods, and tools to the disciplines of the humanities. Preservationists are already well acquainted with digital content and tools such as mapping, laser scanning, and the online archiving of historical documents, to name only a few. These approaches have undoubtedly extended the reach and depth of preservation practice, yet there remains enormous potential for digital tools and methods to enable new research questions, interpretations, and experiences that otherwise may be impossible.
PER welcomes paper manuscripts on subjects that may include but are not limited to the following examples:
• Tours that make use of smart phones and tablets to feature archival information, video, sound, and other media that augment reality or enhance understanding of the built environment.
• Geospatial analysis, mapping, modeling, and visualizations that illustrate change over time, distribution of historical features, or other patterns that reveal aspects of historical significance.
• Digital storytelling or digitally recorded and disseminated oral histories as a means of enriching knowledge about the history of places or the meanings they hold for people across time.
• Web-based surveys, social medial platforms, or other interactive, digitally-enabled public engagement methods for advancing approaches to values-based preservation planning.
• Preservation-related research made possible by recently-digitized, primary source data.
• Historic sites and museums enriched by digitally-enabled, multisensory, auditory, visual, or olfactory experiences.
• Successes and challenges associated with incorporating the digital humanities into preservation pedagogy.
While we encourage submissions based on this issue’s theme, papers on all topics related to preservation education, research, and scholarship will also be considered. The deadline for submission of papers (4,500-6,000 words in length) is February 15, 2017. All submissions must be emailed to firstname.lastname@example.org and must adhere to the journal’s publication guidelines located at http://www.ncpe.us/publications/manuscriptsubmissionguidelines. Papers will be blind reviewed and authors notified of publication status by April 2017.
Preservation Education Research (PER) is a refereed journal focusing on scholarship related to historic preservation (e.g., heritage conservation/cultural patrimony) education that addresses the historic environment. The National Council for Preservation Education (NCPE) launched PER in 2007 as part of its mission to exchange and disseminate information and ideas concerning preservation education, current developments and innovations in preservation, and the improvement of historic preservation education programs and endeavors in the United States and abroad. For more information about NCPE and PER, visit http://www.ncpe.us. Back issues of PER are also available on NCPE’s web site.
The proliferation and popularity of visual arts documentaries are a major component of the recent international documentary boom, but they tend to be overlooked in film criticism and scholarship in favor of documentaries framed more explicitly in social and political terms. Yet visual arts documentaries remain on the cutting edge of documentary innovation, from 3D cinema (Cave of Forgotten Dreams) to questioning documentary truths (Exit Through the Gift Shop). Moreover, visual arts documentaries have long played significant roles in various historical formations around documentary politics (e.g. USIA films in the Cold War, the Left Bank essay films of 1950s and Channel Four programming in the 1980s).
This edited collection will examine the significance of visual arts documentaries from a range of critical perspectives and methodologies. The book will explore not only how documentaries from around the globe exploit the formal properties of film and video to illuminate the aesthetic specificities and intersections of other visual arts, but also how they elucidate the material and cultural conditions in which visual arts are produced and experienced (e.g. the discourse of the artist, museums and galleries, activist art, religious practice, commercial design etc.). To complement these interpretative contributions, the book will also include critical analyses of the political economy of visual arts documentaries, especially the geopolitics of the genre. As an interdisciplinary and intermedial project, I am particularly interested in contributions that connect film studies to other disciplines and fields, including anthropology, art history, architecture, communication, rhetoric, performance studies and visual studies, among others. Consideration will be given to submissions about any historical period or cultural/national/regional context (the book aims for genuinely global scope). Contributions may focus on a single film, a body of work (organized around filmmaker, artist or subject) or a particular institutional context. I am defining visual arts broadly to include applied arts, such as fashion, architecture and design, as well as film, video, photography, painting, sculpture, illustration and performance art etc.
Possible topics include (but are not limited to):
• Medium specificity and the visual arts documentary
• Cultural politics of visual arts television programming
• Documentary film and arts education
• Visual arts documentary as cultural diplomacy
• Post/colonial appropriation and resistance in visual arts documentaries
• Representing visual aesthetic practices in ethnographic film
• Documenting performance and collaboration in the visual arts
• Documenting activist art practices
• Discourses of the visual artist in documentary film
• Documentaries about art institutions and markets
• Visual arts documentary as paratext (making of documentaries, exhibition documentaries)
• Relationship between documentary filmmaking and archival documentation of visual arts
• Histories of arts television networks and series
• Film technologies and the visual arts documentary
• Fakery, forgery and mockumentary
Deadline for electronic submission of 350-400 word abstract (plus brief biographical statement and sample 5-item bibliography): November 1, 2016. Notification by December 1, 2016.
Commissioned chapters should not exceed 5,000 words and must be completed by October 1, 2017.
Please send submissions and inquiries via email to Roger Hallas, Associate Professor of English (Film & Screen Studies), Syracuse University, USA: email@example.com
The ancient world on the cinematic screen has recently been resurging. Digital effects have enabled new worlds to be developed for television and cinema, allowing classic sword-and-sandal flicks to be reimagined with emerging technologies. These mythical, biblical, and historical accounts from ancient Greece, Rome, and Egypt have been marketed and distributed worldwide as major theatrical releases. Despite generally negative reviews, the classics keep coming—with a new Ben Hur scheduled for release at the end of summer in 2016. Considering Jeffrey Richards’ argument that “historical films are always about the time in which they are made and never about the time in which they are set” (2008), what does the resurgence of ancient themes in cinema mean? What are the reasons they are being produced despite hit-and-miss reviews? This panel is an exploration of the re-emergence of ancient themes in cinema, but pushes the idea of what they mean to contemporary society by considering the ways they move with emergent trends in media.
Paper topics may include:
- Architecture and/of ancient worlds
- Ancient and early medieval archaeology
- Adaptation and remakes
- Ancient themes on television and/or other media (eg. Rome, Spartacus)
- Ancient motifs in sci-fi and fantasy
- Differences between historical accounts and cinematic representations of histories
- Looking at classics through the emerging scholarship of media archaeology
- National(ism), identity, and ancient Egypt
- Ancient myth in contemporary art/film
- Sexuality, race, and gender
- Digital media, 3D cinema, and special effects
- Renaissance art and/in cinema/media
- Historiography of classics in cinema
- Process, context, and worlding across media
- Media convergence of ancient themes across cinema, art, architecture, media.
Please send a 250-300 word abstract, along with brief (1 page if you can) cv, and a 100-150 word biography to: firstname.lastname@example.org by August 10, 2016. The finalised panel will be proposed to SCMS by August 31, 2016.
WOHA rethinks cities for the age of global warming
March 23 - September 4, 2016
In the tropical countries and islands of Southeast Asia and South Asia, nature, sun, and people are abundant. Of the world’s twenty largest megacities – metropolitan areas with a population of 10 million or more – seven are located in these hot and humid regions. Rapid urbanization has been the pattern of growth and accommodating rising densities poses major challenges for governments, planners, and architects – as does the crisis of climate change.
Just one degree latitude north of the equator, the tiny city-state of Singapore, with 5.5 million people and a territory of 278 square miles (719 km2) – slightly smaller than New York’s five boroughs – presents an extraordinary model of social engineering and architectural innovation. In Singapore, where 80 percent of the resident population lives in some form of public housing, of which 90 percent own their homes, the Housing Development Board (HDB) has embraced both the high-rise typology and the goal of a garden city.
WOHA – the practice begun in 1994 by architects Wong Mun Summ and Richard Hassell – has built extensively in Singapore, as well as in Bangkok, Mumbai, and other megacities in the region. The firm advances skyscrapers as solutions for urban density, but critiques the Western conventions of steel and concrete frames, wrapped and sealed in a curtain wall of glass and artificially cooled. WOHA proposes – and they have built – tropical towers enveloped by nature and vertical villages with sky gardens, breezeways, and elevated parks. At a time when global warming threatens the future, the enlightened work of WOHA rethinks the urban environment, offering prototypes that use vertical density to create highly social, sustainable, and garden-filled cities.
THE CITY ABOVE THE CITY challenges architects and students of architecture from around the world to push the boundaries of modern wood building design in the urban environment. Entrants are asked to select a centrally-located building in one of the world’s most populated cities and develop an innovative wood design solution that adds density through additional floor area. Known buildings, especially buildings under threat of demolition are encouraged as sites for revitalization, new development and innovation.
Housing the world’s growing urban population is one of the most significant challenges facing humanity today. Currently, half of the world’s population live in cities. By 2050, 2/3 of the world’s population will live in urban areas. Cities must develop strategically to meet these immense housing demands along with the associated infrastructure. Too often the proposed solutions to this problem show little regard for the existing framework of our cities, choosing instead to replace the old with new, at great environmental, social, and cultural cost. The greatest design challenge then, is not only to build new structures, but to build upon the existing fabric of our cities, knitting together old and new. Today, engineered wood offers designers an incredible opportunity to meet this challenge. New wood products allow designers to build taller structures that are much lighter than alternative materials (steel and concrete) while still meeting strict criteria for fire resistance and/or seismic challenges. All this can be achieved using a natural, beautiful material – grown by the sun.
The properties of wood material are utilized best when building up. The tallest trees in the world grow to forty storeys tall. There is no reason why our building too, cannot reach even higher in wood. Utilizing the inherent strength of wood fiber there are countless new possibilities to explore.
In 2017, the John Michael Kohler Arts Center, Kohler Foundation Inc., and the National Center for Preservation Technology and Training will host a symposium dedicated to the study, preservation, and curation of art environments.
The symposium, THE ROAD LESS TRAVELED, will be held at the John Michael Kohler Arts Center in Sheboygan, Wisconsin, as part of its 50th anniversary year.
The three-day symposium (September 26-28, 2017) will consist of presentations, panel discussions, and workshops exploring the study, practice, and history of art environments. Concurrent to the symposium, the Arts Center's exhibitions will showcase its collection of artist-built environments. Special tours of the exhibitions, art storage areas, and regional art environments will be offered September 29-30.
Those interested in presenting on recent research projects, critical studies, curatorial projects, and/or preservation projects related to the concept of art environments or the field of self-taught art should submit abstracts and/or propose sessions using the following guidelines:
- 200-250 word abstract for individual presentations
- 300-350 word abstract for session topics, including proposed speakers
Preference will be given to recent investigations, ideas, and projects, ideally referencing the last three years. Only digital submissions will be accepted. Send to: email@example.com
The deadline for call for papers and sessions is September 6, 2016. Speakers and session chairs will be notified by November 1, 2016. All selected speakers will receive a stipend and assistance with travel and lodging.
General registration opens February 2017.
“Conflicts of interest” are said to compromise the impartiality of research, but what would it mean to be disinterested? Ethical codes warn us that researchers’ objectivity can be corrupted by a clashing set of interests—those of funding agencies, clients and publics, as well as researchers’ self-interest in professional advancement or personal gain. If the resolution of such conflicts might typically call for avoidance, recusal or disclosure, what would such strategies mean for the design disciplines and research on the built environment? What varied interests, expressed in the form of money or other manifestations of influence, do designers contend with? Who does impartiality protect, and when are conflicts of interest productive?
Issue 05 asks how researchers define an ethics of interest and disinterest across diverse structures of research funding. How do designers reify, leverage, alter or sidestep the constraints of financial support, and from what vantage points? How is the value of research assessed, and in what marketplaces?
Beyond the automotive industry’s role in the Federal-Aid Highway Act or BP’s now-defunct sponsorship of the Tate Modern, even the most speculative work is governed by the economics of research. Universities shape niche publishing industries by determining tenure criteria and create new structures for commercialization as student debts escalate. Government agencies and NGOs issue grants captured from local tax bases or global markets to test ever-changing definitions of welfare, social justice and development. Even Silicon Valley-style start-ups and crowd-funding campaigns rely on licensing and liability protocols developed within the service professions. From philanthropy to profit, and from patronage to entrepreneurship, we hope to examine how researchers locate their role in directing the systemic reach of such funding structures.
We seek thoughtful and playful approaches to applied research in the built environment. Contributions may include opinion pieces, research papers on pivotal moments from a history of applied research, speculative drawing series about the protocols of research practice or photo essays on research projects. For this issue especially, we welcome opportunities to publish interviews with representatives of foundations, government agencies and design practices. 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, email the following in one pdf document to firstname.lastname@example.org:
- Title and subtitle
- Author name and 50-word bio
- Abstract describing context, argument and intended format and length of your proposed contribution, 300 words max.
- Design or writing samples and website urls, optional.
Deadlines for Issue 05 are as follows:
- Sep 1 2016: Abstracts due (we will also review abstracts on a rolling basis throughout the summer of 2016, so feel free to send them in advance).
- Jan 9 2017: Contributions due (once selected).
- May 2017: Publication.
Registration for the SESAH Conference is now open! Please join us September 28-October 1, 2016, in New Orleans.
As part of its book series on design and planning approaches to housing AMPS calls for submissions to the third book of the series. The Housing the Future series is a unique combination of:
i. Built projects by planners, urban designers and architects
ii. Essays from academics in these fields describing theory, practice or educational design projects in these areas
iii. Student projects (typically those of the academics in section two)
Book title: Housing the Future - Resilient and Sustainable Design
Publisher: Libri Publishing
Series Mangers/Editors: AMPS
The first round of chapter submissions are collected through the housing strand of the following conference:
Living and Sustainability: An Environmental Critique of Design and Building Practices, Locally and Globally
Place: London South Bank University
Dates: 09-10 February 2017
Abstract Submission deadline: 20 October 2016
Abstract forms available here: http://architecturemps.com/london-2017/
The first stage of this process is to submit an abstract. If accepted, you will be invited to submit a full paper or projects to the conference as applicable. Final selection for the book is made at that stage.
Drawing: Research, Theory, Practice (DRTP) promotes and disseminates contemporary drawing practice and research in its current cultural and disciplinary diversity. The journal encourages pluralist forms of discourse, addressing current issues of theory and practice. It is concerned with drawing as an interactive process and product, as a form of writing or visual narrative, as a model of representation; an investigative, descriptive or interpretive pursuit, a recording and communicative tool; an interactive and dynamic 'site of conception'; as performance, an aid to critical thinking, an interpretative medium and as a site of production.
DRTP invites practitioners, researchers, educators and theorists in the disciplines of fine art, architecture, design, visual communication, technology, craft, animation, etc. to contribute articles, projects, essay and papers that deal with the various knowledges and representations of drawing.
DESIGN EDUCATION IN THE NORDIC COUNTRIES
23?24 September 2016
Nordic Forum for Design History Studies conference 2016
Aalto University School of Arts, Design and Architecture (Arabia campus), Helsinki, Finland
Confirmed Keynote Speaker:
Kjetil Fallan, Professor in Design History, University of Oslo, Norway
Kerstin Wickman, Professor Emerita, Sweden
Christina Zetterlund, Professor, Konstfack, Sweden
Anders V. Munch, Professor, The University of Southern Denmark
Harpa Thorsdottir, Museum director, Museum of Design and Applied Art, Iceland
Ida Kamilla Lie, PhD student, University of Oslo, Norway
K?rt Summatavet, PhD, researcher, Tallin, Estonia
At the time of big changes in designer profession globally, the Nordic Forum for Design History Studies conference 2016 turns to examine design education. The conference aims to map the history of design education in the Nordic countries and to survey what is the status of research in this area today. The conference will reflect critically on how the history of professional education is linked to the writing of Nordic design histories and what are the relevant methods of research here.
Nordic design is often presented as a uniform and homogenous phenomenon. What is common and shared, then, when one looks at Nordic design from the perspective of education; is there a special "Nordic design education method"? What are the similarities and differences of educational programmes? Can one talk about regionalism or are national accents or specialities offered by individual schools more significant?
The conference examines interaction within the Nordic region and in the international framework. What was the relation to the German Bauhaus and other 20th century progressive design schools in Europe and in the USA? What kind of connections were there to design schools of the Baltic countries during Soviet era and later. And how is it now: what is the status of education in national design policies of the Nordic countries?
We welcome abstracts for 20 minutes conference papers from scholars from a diverse range of disciplines on the theme of design education. Topics that may be considered include, but are not limited to:
- Methods of research in design education
- Locality / nationality as context of design education
- Interaction and collaboration between Nordic actors of design education
- Bauhaus and other "foreign" influences in Nordic design education
- Links to design schools in the region of the former Soviet Union
- Professionals coming outside of design education
- Charateristics of contemporary design education in the Nordic countries
- Design policies and design education in the Nordic countries
- Turning points in design education
- Continuum and ruptures in the design curriculum
- Role of history in design education
Deadline for submission: 15 August 2016
Please send an abstract (up to 250 words) by 12th of August 2016, including a short biography (up to 50 words) to email@example.com
Bibliotheca Hertziana – Max-Planck-Institut für Kunstgeschichte, Rom, November 21 - 22, 2016
Deadline: Aug 7, 2016
MATERIALITY AND CONSTRUCTION
Building site vocabulary – A Contribution to the Glossary of the Italian Renaissance and Baroque Building Trade
Venue: Bibliotheca Hertziana – Max-Planck-Institut für Kunstgeschichte, Rom – Villino Stroganoff Via Gregoriana 28, 00187 Roma
Claudia Conforti (Università degli studi di Roma “Tor Vergata”) Hermann Schlimme (Bibliotheca Hertziana – Max-Planck-Institut für Kunstgeschichte, Rom) Maria Grazia D’Amelio (Università degli studi di Roma “Tor Vergata”)
Università degli studi di Roma “Tor Vergata”
Bibliotheca Hertziana – Max-Planck-Institut für Kunstgeschichte, Rom
Call for papers
The terms used in the realization processes of architecture is often ambivalent in meaning, and can sometimes even be unintelligible. This vocabulary may not even belong to the “official” written language, or be findable in historical dictionaries. Building site words belong, in fact, to a restricted group of individuals who had a shared language and who communicated about even very complex operations using an abbreviated code. The meaning of the words changed depending on time and place; occasionally the words themselves disappeared like the dialects to which they belong, or became obsolete like the techniques they describe.
Indispensable for an understanding of the working practices of the building site is an accurate understanding of the vocabulary that comes to light in archival documents. For this reason several scholars from the Bibliotheca Hertziana – Max-Planck-Institut für Kunstgeschichte in Rome and the Università degli studi di Roma “Tor Vergata” have created the “Glossario dell’Edilizia Rinascimentale e Barocca” ( http://wissensgeschichte.biblhertz.it:8080/Glossario ). The glossary is intended as a tool for studies in architectural history as well as for planning the restoration of the architectural heritage. This is not a collection of fixed headwords, but on the contrary is updated following current research and aims to be a contribution to a broader history of construction knowledge.
The aim of the conference is to sound out the current state of research in building site vocabulary. This call for papers addresses scholars interested in reconstructing the technical vocabulary used in the early modern (Renaissance and Baroque) building sector in Rome and throughout the Italian peninsula. The conference aims to actively contribute to the enrichment of the glossary. Topics comprise but are not limited to:
-Construction materials and tools (stone, cement, bricks, metals, wood, surface finishings, tools and instruments); -Working techniques and use of materials; -Waterworks (hydraulic construction, etc.); -Bookkeeping and other records (documentation of work in progress; building site administrative documents, etc.).
Please send your paper proposal (300 words maximum) in Italian or English and a brief CV (150 words maximum) to Prof. Maria Grazia D’Amelio (damelio(at)uniroma2.it) and to Dr. Hermann Schlimme (schlimme(at)biblhertz.it). Deadline is August 7, 2016. The Bibliotheca Hertziana will cover travel costs (economy class) and accommodation (one night) in accordance with the provisions of the German Travel Expenses Act (Bundesreisekostengesetz).
This panel discussion, moderated by Judith De Jong and Marshall Brown, questions new forms of decentralized urbanism in the contemporary American metropolis.
While references to American suburbia typically conjure an image of vast, homogeneous tracts of post-war residential neighborhoods, this roundtable begins with an understanding that decentralization is neither new, nor specifically American. Rather, it is evident as early as the third millennium BCE, where outlying settlements of Mesopotamian cities focused on commerce and industry. Early American suburbia was likewise often industrial, and developed distinct municipalities; some of which were annexed by their central cities, while others faded into oblivion or developed into thriving economic hubs. Therefore, when looking historically, decentralization has traditionally acted back upon the city center, forcing a reconsideration of urban forms and qualities.
The contemporary American metropolis is characterized by a wide range of decentralized urbanisms, many of which exhibit open or loose formal and spatial patterns. However, because these patterns are harder to identify, understand, and instrumentalize, and because the architecture is so often banal, these conditions are easily dismissed. This panel discussion seeks to re-examine these urban forms, as they are often some of the largest and fastest growing parts of a metropolis, as well as generators of innovative new architectures. It asks: What are these new forms of architecture and urbanism in the decentralized American metropolis? What are the primary forces being materialized in their making? And what are the opportunities for the future?
Marshall Brown is an architect and principal of Marshall Brown Projects and an Associate Professor at the IIT College of Architecture.
Robert Bruegmann is an historian and critic of the built environment and Distinguished Professor Emeritus of Art History, Architecture and Urban Planning at the University of Illinois at Chicago.
Architect Claire Cahan is Design Director at Studio Gang, an architecture and urbanism collective based in Chicago and New York.
Judith K. De Jong is an architect, urbanist, and Associate Professor of Architecture at the University of Illinois at Chicago.
Andrew Metter is Principal Design Consultant at Epstein in Chicago, Illinois.
Juan Gabriel Moreno, is an architect and President/Founder of JGMA (Juan Gabriel Moreno Architects).
Mark Muenzer is the Director of Community Development for the City of Evanston, Illinois.
The American Council of Learned Societies (ACLS) announces the fourth year of an initiative supporting research and teaching in Buddhist studies, funded by a three-year grant of $6.7 million from The Robert H. N. Ho Family Foundation. In cooperation with the Foundation, ACLS offers an integrated set of fellowship and grant competitions that will expand the understanding and interpretation of Buddhist thought in scholarship and society, strengthen international networks of Buddhist studies, and increase the visibility of innovative currents in those studies.
The Foundation offers five competitions to support research and teaching.
The Robert H. N. Ho Family Foundation Dissertation Fellowships in Buddhist Studies
The Robert H. N. Ho Family Foundation Postdoctoral Fellowships in Buddhist Studies
The Robert H. N. Ho Family Foundation Collaborative Research Fellowships in Buddhist Studies
The Robert H. N. Ho Family Foundation Research Fellowships in Buddhist Studies
The Robert H. N. Ho Family Foundation New Professorships in Buddhist Studies
These are global competitions. There are no restrictions as to the location of work proposed or the citizenship of applicants. The final products of research supported may be in any language. It is especially important, therefore, to publicize the program in Asia, both because Asia is the historical home of Buddhist traditions and because it is the site of outstanding contemporary scholarship.
Information about these fellowships and grants is now available in Burmese, Chinese (Cantonese and Mandarin), Hindi, Japanese, Khmer, Korean, Lao, Mongolian, Nepali, Sinhala, Tamil, Thai, and Vietnamese. The translations will circulate information about the program more widely, including via local Internet search engines.
Although the final products of research may be in any language, all applications must be submitted in English.
Applications must be submitted through the ACLS Online Fellowship Application system (OFA). Applications will be available by August 31, 2016.
"Foundations and Futures," the 2016 inaugural symposium for Exhibit Columbus, will be held September 29 to October 1. In addition to a keynote session featuring the return of some Columbus legends, Deborah Berke, Will Miller, Robert A. M. Stern, and Michael Van Valkenburgh, you will get to hear from experts in architectural history, community members that built and maintain many of the landmarks around the city, manufacturing and fabrication experts, and discussions with all ten of the designers selected to participating in the J. Irwin and Xenia S. Miller Prize Competition.
Author Richard Cahan will present a lecture on his third book dedicated to the photographer and preservationist Richard Nickel, who was also one of the founders of Glessner House Museum in 1966. Cahan’s most recent volume utilizes Nickel’s own writings - from long letters to quick notes - that convey Nickel’s commitment to preservation, the joys of discovery, and moments of despair as Louis Sullivan’s buildings fell one after another during the 1950s and 1960s. His words and photographs continue to inspire us today. Copies of the book, co-authored by Michael Williams, will be available for purchase and signing.
Architect Irving J. Gill was a San Diego architect, by way of Chicago, who relished the opportunity to work in this city during the end of the late 19th and early 20th centuries. He saw San Diego as a blank slate with great potential. Inspired by the coast and canyons, sunlight and shadows, Gill created a new design language, what we now call modern architecture. His simple, block-like designs offered simplicity, clean lines, and efficiency at a time when faux-Victorian and Spanish Colonial architecture were mainstream. Once sought after by many of San Diego elites like, Ellen Browning Scripps and Melville Klauber, his legacy was largely overlooked after his death.
San Diegans today may not know the name Irving Gill, but they are, perhaps unknowingly, aware of his influential and livable architecture. From the home of Ellen Browning Scripps (today’s Museum of Contemporary Art San Diego in La Jolla), to the Bishop’s School in La Jolla, to the Sacred Heart Church in Coronado, the Marston House in Balboa Park, the Americanization School in Oceanside, and the Barona Indian Reservation in Lakeside. Gill’s designs made a lasting mark on San Diego County and the influence architects and their clients to this day.
Visit the History Center’s exhibition Irving J. Gill: New Architecture for a Great Country to learn more about this fascinating and sometimes misunderstood individual who helped create in a new style of architecture revered throughout the world, but one that originated right here in San Diego.
Deadline: Oct 15, 2016
Gardens have been a crucial part in mythology and literature.
Throughout English literature for example, the idea of a garden is a recurrent image; these images largely stem from the story of the Garden of Eden which is found in the Genesis, the first book of the Bible.
Gardens reveal the relationship between culture and nature – the garden can be seen as civilized and ‘shaped’ and therefore domesticated nature –, in the vast library of garden literature few books focus on what the garden means – on the ecology of garden as idea, place, and action. Our volume will discuss the topic of the garden in different theoretical contexts such as ecological, botanical, literary, filmic, art historical and cultural ones. We want to investigate the representations of and the interconnections between gardens and the above named fields over a wide timescale, with consideration of how gardens are represented and used as symbols and of how – for example – literature or visuality took form in, or influenced, gardens.
Suggested topics include, but are by no means limited to the following:
- The Biblical/Theological Garden
- The Mythological Garden
- The Renaissance Garden
- The Romantic Garden
- The Revolutionary Garden
- The Colonial/Postcolonial Garden
- Gardens in film
- Gardens in Art History
- The Garden as…
> a location in general and as a place of romanticism specifically a
> crime scene a labyrinth and therefore as a mirror of psychological
- Ecological aspects on garden culture
The timetable for the volume is as follows:
- The deadline for abstracts: October 15, 2016
- Feedback: October 31, 2016
- Submission for articles (completed): April 30, 2017
- Double peer review process and feedback due to: May 30, 2017
- Articles sent back to editors: mid of June 2017
A publication is planned during autumn/winter 2017.
Chapters may explore different media (literature, movies, art, visual arts, television, etc.) and address topics on gardens. If you are interested in proposing a chapter, please email an abstract of 500 words and a short CV to both Dr. Feryal Cubukcu
(firstname.lastname@example.org) and Dr. Sabine Planka (email@example.com).
Your abstract should outline your hypothesis and briefly sketch the theoretical framework(s) within which your chapter will be situated.
All submissions will be acknowledged. If you do not receive a confirmation of receipt within 48 hours, you may assume that your email was lost in the depths of cyberspace. In that case, please re-submit.
Please note that we will not include previously published essays in the collection.
CoOrganizers: Danny Smith and Lora Webb, Stanford University
“The depicted door,” Jas Elsner has written of the fourth century Pola Casket, “is a kind of makebelieve that might open into the box or out of which the box’s contents might venture.” The doors of the ivory casket suggest an architectural space, but one that remains wholly impenetrable to anything but the imagination. Inspired by the recent focus on absconded or hidden art objects, this panel will address the inaccessible architectures of the medieval world to ask: how do we understand space we cannot enter?
Whether in the form of ecclesiastic spaces closed to the public, sarcophagi or censors in the form of microarchitectural models, or ruined or destroyed spaces, much of the interior architectural space of the medieval period remains steadfastly impenetrable. How can we, as scholars, interpret spaces into which we can never ourselves enter? How does the study of medieval architecture change when the architectural space is impenetrable? Does painted architecture, microarchitecture, or lost architecture demand a different kind of methodology?
We welcome all papers pertinent to the study of impenetrable or impossible architecture in a medieval context. Topics may include:
microarchitecture, visionary architecture, spatial or architectural ekphrasis, lost or ruined architecture, medieval architectural models, the social stratification of architectural space, or architectural historiography.
DEADLINE FOR PAPER PROPOSALS: 15 September 2016
Paper proposals should consist of the following:
- Abstract of proposed paper (no more than 350 words)
- Completed Participant Information Form – available on the conference website here:
- CV with contact information.
ALL PROPOSALS AND INQUIRIES SHOULD BE DIRECTED TO:
Danny Smith (firstname.lastname@example.org) and Lora Webb (email@example.com)