HistoryMiami Museum is proud to announce its upcoming exhibition, The Discipline of Nature: Architect Alfred Browning Parker, which will examine the 60-year career of the famed Miami architect whose organic tropicalist designs made him a regional leader and a national icon.
Opening on the 100th anniversary of the architect’s birth, The Discipline of Nature will celebrate Parker’s rich and prolific life. Featuring original drawings, archival photographs, and models and furnishings, the exhibition will illustrate Parker’s evolving designs and illuminate his use of natural principles, forms, and materials to create an organic structure for his work.
The exhibition, running from September 24, 2016 – February 26, 2017, brings new relevance to Parker as the activist architect, writer, speaker, teacher and philosopher of Miami.
“Parker has a remarkable legacy in Miami. He was an original thinker who emphasized environmentally friendly design and sustainability longer before the “green movement” even existed," said Stuart Chase, President and CEO of HistoryMiami. “This exhibition not only celebrates his remarkable designs, but highlights the ecological and environmental basis to his work.”
Parker designed more than 500 projects in his 60-year career, many of which were award-winning designs, and was the recipient of the American Institute of Architects Florida Association’s inaugural Award of Honor in 1967.
"As an architect deeply rooted in Florida, Parker designed and built singular works directed by a coherent system of values that directly address issues of place," said co-Curator Allan Shulman. "Central to his ethos was respect for the earth and its resources, and moral and aesthetic interest in the power of nature."
HistoryMiami Museum will host a Grand Opening party for The Discipline of Nature on September 24th with a special conversation with curators Randolph C. Henning and Allan Shulman that will bring to light the indelible impact Parker had on Florida's built landscape.
“Without question Alfred Browning Parker is Florida’s most renowned and celebrated architect,” Curator Randolph C. Henning said. “What better day to open this exhibition, a celebration of his passionate creative energy and commitment to living in harmony with the environment, than on the day marking the centennial anniversary of his birth.”
For more information visit www.historymiami.org. Tickets to see the exhibition cost $10 for adults, $8 for seniors and students, $5 for children, and free for children under 6 years old.
Application available online: August 15, 2016
Deadline: September 15, 2016
Since 1956, the Graham Foundation has provided direct funding to individuals for projects that foster the development and exchange of diverse and challenging ideas about architecture and its role in the arts, culture, and society. As one of the few funders of individuals in the field of architecture, the foundation's grants provide important support for the work of emerging and established architects, scholars, writers, artists, designers, curators, filmmakers, and other individuals.
To apply for an individual grant, applicants must submit an Inquiry Form—the first stage of a two-stage application process. The online Inquiry Form will be available on our website from August 15 until the deadline on September 15, 2016.
Download the Inquiry Form Worksheet here
to prepare your responses and gather requested materials before August 15.
For more information about the Graham Foundation's grants and to learn if your project is eligible for funding, please see our grant guidelines.
ENDLESS IMAGES: A SoCal Summer Program organized by the Visual Resources Association (VRA), Society of CA Archivists (SCA), and Art Libraries Society of North America (ARLIS-SC) on Sunday, August 14 & Monday, August 15, 2016 at the Laguna College of Art & Design. Sessions and Lightning Round talks will take place on Monday; optional tour of the Laguna Art Museum and attendance at the Pageant of the Masters are organized for Sunday.
For more information and to register, please see:
The early bird deadline to obtain the best value is this Wednesday, July 20th. If you would like to attend the Pageant of the Masters performance Sunday night, you need to register and pay for your ticket by the early bird deadline.
Brick x Brick is a group exhibition that foregrounds the slow and deliberate process of building as a way to understand the social and cultural topographies of cities and the built environment. Artists represented in the exhibition use a diversity of media—including photography, painting, sculpture, drawing, and craft—to show how building contributes to and disrupts the features of local, national, and international urban landscapes.
Architecture is an endlessly fascinating lens through which to observe dramatic changes in the history and texture of contemporary cities. From Robert Polidori’s photographs of pastel-hued Havana to Carolyn Swiszcz’s paintings of St. Paul’s aging retail landmarks, buildings reflect how communities change and adapt, while creating more diverse layers of social and architectural history. Allan McNab’s woodcuts show houses sprouting up like mushrooms that spread over a hillside. Mike Lynch’s painting of abandoned grain silos, Elevator – 29th and Harriet from 1988, is a haunting reminder of Minneapolis’s past as the “Flour Milling Capital of the World.”
Artists also use building blocks of form and color to comment on the formal and conceptual construction of art itself. Julie Mehretu’s lithograph Entropia contains 32 layers of colorful ink that recall architectural plans and swirling topographical maps. George Morrison’s Cube is a sculptural collage of finely polished wooden puzzle pieces. Rob Fischer’s Industrial Revolution salvages a high-Modernist color palette and old panes of glass in order to build something new from something old. Each work in the exhibition reveals how art and architecture share the same reflex—to construct a new relationship to the world around us.
Brick x Brick showcases works by over 30 artists from across the country, including 12 from Minnesota. The majority of the works in the show come from the permanent collection of the Minnesota Museum of American Art, and are complimented by generous loans from artists and private collections.
It has been nearly eighty years since the publication of Architectural Heritage of the Piscataqua by the architect John Mead Howells. This summer’s exhibition is a photographic reflection of the book and the houses that inspired Howells to record them for posterity. The twentieth century proved tumultuous for the buildings and residents of Portsmouth. The 1920s saw the sale of historic interiors and the resulting destruction of their edifices. The Depression of the 1930s slowed this trend and allowed Howells to photograph buildings viewed as architecturally important to his audience.
Urban renewal emerged from the victories of World War II with mixed results for the built environment and residents of Portsmouth when neighborhoods were destroyed or moved in an effort to “improve’ the living arrangements and structures of the city. On the brink of these changes, the images in Architectural Heritage of the Piscataqua offer a nostalgic hold on the imagination, but perhaps more importantly they provide a visual clue to the historical architectural importance of Portsmouth to the nation. William Laurence Bottomley in his introduction to the book regarded Charleston, Annapolis and Portsmouth as a trinity of eighteenth-century towns, “with much of their early work complete and extant,” but of these, he wrote, Portsmouth “was the most complete.” In 1937 this book brought that vision to the rest of the country.
Architectural fragments and objects associated with the properties will also be on view. The photographs in the exhibit have been reproduced in a process that converts them from digital into silver gelatin prints. Through this process, a close approximation of the originals has been realized that utilizes the chemistry light and silver to capture the effect of light and shadow on 18th Century architecture.
The exhibit is located in the Randal Gallery of the Portsmouth Athenaeum, 9 Market Square, Portsmouth, NH 03801 from July 22 through November 5, 2016. Gallery hours are Tuesday, Thursday, and Saturday from 1-4 P.M. The gallery is also open for Portsmouth Arts Around Town on the first Friday of every month from 5 to 8 P.M.
EAHN Fifth International Meeting (Tallinn, 13-16 Jun 18)
Tallinn, Estonia, June 13 - 16, 2018
Deadline: Dec 12, 2016
EAHN Fifth International Meeting
Call for Sessions and Round-Tables
Deadline: December 12, 2016
European Architectural History Network (EAHN) is organising its fifth pan-European meeting in Tallinn, Estonia, from June 13-16, 2018. In accordance with its mission statement, the meeting aims to increase the visibility of the discipline; to foster transcultural, transnational and interdisciplinary approaches to the study of the built environment; and to facilitate the exchange of research results in the field.
Although the scope of the meeting is European, members of the larger scholarly community are invited to submit proposals related not only to European architecture but also to that of the rest of the world.
The main purpose of the meeting is to map the general state of research in disciplines related to the built environment, to promote discussion of current themes and concerns, and to foster new directions for research in the field. Session proposals are intended to cover different periods in the history of architecture and different approaches to the built environment, including landscape and urban history. Parallel sessions will consist of either five papers or four papers and a respondent, with time for dialogue and questions at the end. In addition, there will be a number of round-table debates addressing burning issues in the field. Proposals are sought for round-table debates that re-map, re-define or outline the current state of the discipline. They will consist of a discussion between panel members, but will also encourage debate with the audience. The goal is to create a forum for scholars to present and discuss their ideas, research materials and methodologies.
Scholars wishing to chair a scholarly session or round-table debate at Tallinn 2018 are invited to submit proposals by December 12, 2016 to email@example.com, Dr. Andres Kurg, General Chair of the EAHN Fifth International Meeting, Institute of Art History and Visual Culture, Estonian Academy of Arts, Suur-Kloostri 11, Tallinn 10133, Estonia.
Duties of the chairs of session and of round-tables include: selecting from the proposals submitted for presentation by the agreed deadline; communicating the list of speakers and titles to the conference organisers by the agreed deadline; and submitting material for the proceedings to the conference organisers by the agreed deadline. Chairs will not be eligible for selection as speakers in their own or any other session or round table at the conference.
All chairs and selected presenters and speakers are required to obtain membership of EAHN (available for an annual membership fee at
http://www.eahn.org/members-2/) prior to registration at the conference. Chairs are expected to pursue their own institutional or other support for membership, registration, travel and accommodation.
Proposals in English, of no more than 400 words, including a session or round-table title, should summarise the subject and the premise. Please include name, professional affiliation (if applicable), address, telephone, e-mail address and a current CV. Proposals and short CVs should be submitted by e-mail, including the texts in both the body of the mail and as attachments.
Session and round-table proposals will be selected on the basis of merit and the need to organize a well-balanced programme. Please note:
preference will be given to proposals from chairs who have not hosted a session in the previous biennial conference (Dublin 2016). The International Scientific Committee may organise additional open sessions, depending on the response to this call.
The complete Call for Sessions and Round-Tables can be downloaded from the Conference website: http://eahn2018conference.ee
Living and Sustainability: An Environmental Critique of Design and Building Practices, Locally and Globally
9th to 10th February 2017
LONDON, United Kindgom
Hosted in London, UK this international and interdisciplinary conference is open to engineers, architects, planners, building technologists, environmentalists and others interested in environmental and social sustainability. The conference seeks to share knowledge on various issues, such as: advances in the retrofitting of houses, new ideas for environmentally efficient buildings, and the latest developments in Zero Carbon construction from across the world.
It is organized by London South Bank University and AMPS.
June 1, 2017 - May 31, 2021
Deadline: Oct 1, 2016
The journal Architectural Histories of the European Architectural History Network, is now seeking to appoint a new editor-in-chief and editorial assistant from 1 June 2017 for a four-year term. These are strictly voluntary positions with no paid remuneration. The journal is a highly ranked peer-reviewed public access on-line publication.
Details about the positions can be requested from Nancy Stieber firstname.lastname@example.org. Applications consisting of a cover letter and CV are due by 1 October 2016.
CONF: Kunsthallen. Architectures for the Continuous Contemporary (Bern, 2-3 Sep 16)
Bern University, 02. - 03.09.2016
KUNSTHALLEN. Architectures for the Continuous Contemporary in Europe and the US
Prof. Dr. Peter J. Schneemann
In July 1968, on the occasion of the fiftieth birthday of the Kunsthalle Bern, Christo and Jeanne-Claude wrapped the building in
2.430 square meters of white polyethylene fabric. The Kunsthalle was the first architecture in Europe that received the honor of being fully wrapped by Christo.
Interventions in the architectural structure of the Kunsthalle, such as Sol LeWitt's structures (1972) for example, continued during the following fifty years, leading to a constant and critical examination of both the institution and its building. The centennial of the Kunsthalle Bern in 2018 is the starting point for the international conference KUNSTHALLEN. Architectures for the Continuous Contemporary in Europe and the US, which will be held at Bern University September 2-3, 2016. In contrast to collecting museums the model of the Kunsthalle is characterized by freedom and novelty. Due to its dynamic concept, this institutional format contributes to the formation of contemporary art in essential ways.
The conference assembles international guests from diverse institutions and professional fields who will discuss the historical development, political implications as well as the societal positioning of the Kunsthalle. The institution's role as curatorial field of experimentation, artistic material, and as a platform for transatlantic exchange will be examined as well.
This conference is organised by the Department for Modern and Contemporary Art History, Institute for Art History, Bern University, in cooperation with the Institute for Art History, Basel University and the Kunsthalle Bern. It has received generous financial support from the Terra Foundation for American Art.
Concept and organisation:
Prof. Dr. Peter J. Schneemann, Bern
Prof. Dr. Eva Ehninger, Basel
Valérie Knoll, Director Kunsthalle Bern
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 email@example.com 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: firstname.lastname@example.org
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: email@example.com 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: firstname.lastname@example.org
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 email@example.com:
- 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.