In recent years, architects have been mining new research in neuroscience, cognitive psychology, object-oriented philosophy, and experimental biology for design concepts and for accounts of the new conditions of materiality. Architects borrow from these discourses to formulate and justify a wide range of design processes, especially digitally-driven ones. But we have failed to discuss how neuro-scientific knowledge can impact architectural pedagogy. A generation of architectural students has been trained in digital design tools, and younger students now generate nearly all of their design through digital media. What forms of design cognition has this change in representational systems yielded? Research from the sciences of the mind might help to unpack the implications of this shift.
This conference considers the roles that applied neuroscience has played and might play in the education of architects. What cognitive skills should be developed through an architectural education, and how has the long history of exchanges between biological and neuroscientific knowledge generated current models for architectural design? Which insights from neuroscientifc research should architectural educators be aware of as they formulate pedagogic platforms? Given what we are learning about the role of the body and the hand in learning from recent mind-brain research, how can we best integrate training in digital tools with other tools that engage the body in the process of design? Finally, what impact might a new approach to the cognitive development of architectural students have on our built environment?
The symposium is structured around invited presentations and panel discussions with neuroscientists, architectural theorists, historians, philosophers, and artists. Hosted by Pratt Institute’s School of Architecture in collaboration with the Academy of Neuroscience for Architecture. It is free and open to the public.
“Keeping it Local”
Michigan Barn Preservation Network
Annual Conference and Membership Meeting
This one-day conference offers educational training for the professional woodworker, dedicated amateur, preservation specialist and architect. Through presentations on unique projects and techniques, craftspeople will gain a better understanding of traditional design for the production of doors, windows, moldings, trim, stairs and other architectural details.
Application deadline: Mar 15, 2015
The Rijksmuseum operates a research fellowship programme for outstanding candidates working on the art and history of the Low Countries whose principal concern is object-based research.
The Rijksmuseum houses the world’s largest collection of Dutch artistic and historical treasures, and the most complete library on Dutch art.
The museum re-opened its doors to the public in April 2013 following a ten-year renovation that completely transformed the institution. For the first time in its history, the paintings, sculpture, decorative arts and historical artefacts are being shown together in a chronological display. This innovative curatorial approach presents the public with an overview of the art and history of the Netherlands from the Middle Ages to the twentieth century.
The aim of the Rijksmuseum Research Fellowship Programme is to train a new generation of museum professionals: inquisitive object-based specialists who will further develop understanding of Netherlandish art and history for the future. The focus of research should relate to the Rijksmuseum’s collection, and may encompass any of its varied holdings, including Netherlandish paintings, sculpture, decorative arts, prints, drawings, photography and historical artefacts. The purpose of the programme is to enable doctoral candidates to base part of their research at the Rijksmuseum and to encourage the understanding of Netherlandish art and history by offering students and scholars access to the museum’s collections, library, conservation laboratories and curatorial expertise. Partnership and collaboration is at the heart of these fellowships, which provide support for the museum and its research priorities, as well as its academic and non-academic partners.
M+, West Kowloon Cultural District, will present its inaugural moving image project from 27 February to 26 April 2015. Titled ‘Mobile M+: Moving Images’, the project consists of a series of thematic screenings and an exhibition featuring a selection of works from the museum’s growing moving image collection, while exploring the highly relevant ideas of contemporary migration, mobility and home.
Curated by Yung Ma, Associate Curator, Moving Image at M+, Mobile M+: Moving Images is the eighth in a series of pre-opening public programmes organised by M+, and a multi-site project to be held over a period of two months.
Inspired by the many connotations of the word ‘moving’ and the rise of diasporic cinema, Mobile M+: Moving Images engages Hong Kong’s acclaimed ‘migratory cinema’ from the 80s and the 90s, and in particular Clara Law’s 1996 film Floating Life, which will be screened on Friday, 27 February 2015, as a starting point to consider how conditions and realities of contemporary migration and displacement are imagined, expressed and represented through mediated images.
The screening programme will take place at Yau Ma Tei’s Broadway Cinematheque, the leading art house cinema in Hong Kong. It will present a total of over 30 Hong Kong and international films, ranging from narrative features to shorts, documentaries, artist films/videos and television programmes, by leading filmmakers and artists, including Allen FONG, Ann HUI, JIA Zhangke, Isaac JULIEN, Stanley KWAN, Clara LAW, Ken LOACH, NING Ying, Ellen PAU, TSAI Ming Liang, Wim WENDERS, Apichatpong WEERASETHAKUL, Haegue YANG, and others. The programme will be screened over four separate weekends under four different thematic groupings – Hong Kong, Hope, Dreams and Home.
“With Hong Kong’s ‘migratory cinema’ as one of the key inspirations, this project celebrates the city’s cinematic legacy. I also believe the project’s thematic focus of contemporary migration is rather poignant and relevant both locally and internationally, especially given the globalisation of the last decades,” said curator Yung MA. “In order to offer the public a fresh and wider perspective on moving images, the exhibition will include works in the filmic mode as well as other forms and mediums by Hong Kong and international artists and filmmakers. It will employ a pluralistic approach to visualise the transitional and transformative experiences of migration, reflecting the realities of today’s mobile societies.”
The exhibition will be held at two different locations, Cattle Depot Artist Village, a well-known contemporary art compound in To Kwa Wan, and Midtown POP, a newly established space in Causeway Bay. The exhibition will showcase works by over 25 artists and filmmakers, some of which will be selected from the growing M+ Collection, including major works by Anson MAK, CHEN Chieh Jen, Paul CHAN, Estudio Teddy Cruz, Dominique GONZALEZ-FOERSTER, Isaac JULIEN, KAN Xuan, Charles LIM, Koki TANAKA, Apichatpong WEERASETHAKUL, Young Hae Chang Heavy Industry, ZHANG Peili, ZHU Jia and others. It will also unveil a new commission by the young and exciting Hong Kong animator WONG Ping.
Dr Lars NITTVE, Executive Director of M+, said, “As the launch of M+‘s first moving image programme, we aim to establish a strong identity for M+‘s distinctive curatorial approach in presenting and collecting moving image works, in which boundaries between the different materials will be deliberately dissolved to form a holistic view of the field. A number of works or works by the same artists/ filmmakers will be shown in both settings, further signifying our strategy of highlighting an inter-disciplinary approach to the formation of our programme and collection, which is central to the practice of M+ as a museum for visual culture.”
In addition, Mobile M+: Moving Images will be accompanied by a series of learning activities, including talks with filmmakers and artists as well as workshops and special guided tours, inviting the public to better understand the content and M+’s vision in developing the moving image field.
The exhibition of Mobile M+: Moving Images will be free for public access, while the screening programme requires paid-tickets. Programme details will be announced soon and be posted on the website: www.westkowloon.hk/movingimages .
Mobile M+: Moving Images
Thematic Screening Programme
27 February – 1 March, 20 March – 22 March, 3 April – 5 April, 17 April – 19 April
Admission with paid-tickets (details will be announced soon)
Midtown POP: 13 March – 26 April
Cattle Depot Artist Village: 15 March – 26 April
Join our exhibition with one piece of your photo of 5 dragon cities!
Theme: observation of a potential or transitional situation in one of the following cities-Hong Kong, Seoul, Singapore, Taipei or Tokyo.
Entry deadline: 20th February.
Exhibition venue: Citizen’s Gallery at Seoul City Hall, Seoul, Korea
Duration : 12th – 23rd March 2015
e-mail : agingdragons(at)gmail.com
We are organizing a crowding-photo exhibition at a corner of ‘5 Dragons’ session, as a part of the exhibition of ‘Aging Dragons’. This will show your observation in those cities how you see nowadays in contemporary Asian developed cities with your special angle. It will be a ‘crowding-photo exhibition’, which will be exhibited with other people’s perspective worldwide.
To enter the crowding-photo exhibition at AD,
1. Please choose your pictures of the cities: Hong Kong, Seoul, Singapore, Taipei or Tokyo. (max. 10 photos)
2. Write one sentence (max. 30words) to describe about your photo.
3. Send an e-mail with your picture and text (max. 3mb each, to ‘agingdragons(at)gmail.com’)
4. Await our response. We will be emailing the confirmation!
The Graham Foundation is pleased to present Treatise: Why Write Alone?—an exhibition and publication project that brings together fourteen young design offices to consider the architectural treatise as a site for theoretical inquiry, experimentation, and debate. Organized by Chicago and Los Angeles-based designer Jimenez Lai, the project grows out of a recent Graham Foundation grant to Lai, whose interest in discursive practices and non-conformist approaches to architecture led him to ask his peers working in the realm of conceptual architecture: Why write? And, why write alone? In response to these questions, Treatise presents an exhibition of works by this core group of designers as well as an individual treatise from each office. Together, the exhibition and publications provide a platform to investigate the collective and individual stakes that emerge from this temporary alliance of designers as they explore architecture’s representational limits and possibilities.
Opening January 23, 2015, the exhibition features over 200 works, from drawings and models to multi-media installations, by design offices that utilize diverse—and often unexpected—strategies, forms, and materials.
Opening Reception: Treatise: Why Write Alone?
JAN 23, 2015, 6PM
DAKAM’s Archdesign ’15/ II. Architectural Design Conference on Architectural Design and Methodologies will focus on the different methods on design in general, analysis of single buildings and projects and contemporary issues related to designing, representation and construction in the contemporary world and will take place at Sedad Hakki Eldem Auditorium, located in Mimar Sinan Fine Arts University's Findikli Campus in Istanbul on June 25-27, 2015.
Contemporary architectural design constitutes multiple layers in terms of methods, digital technologies, representation, construction techniques and marketing. From single objects to apartment blocks, from restoration to the recent digital design technologies, from construction techniques to new materials, architecture needs to be reconsidered in terms of methodology.
The conference will host keynote speakers, also many prominent architects and representatives of construction innovative construction firms. Presented papers are going to be published in the proceedings book with an ISBN number just before the conference.
Deadline for submission of abstracts: March 20, 2015 Deadline for registration: May 15, 2015 Deadline for full papers submission: May 22, 2015
Digital Age and Contemporary Discussions Architectural Form Design and Urban Context Representation and Relationality Structure, Construction, Building Locality and Architecture Social Aspects
The conference will be held at Sedad Hakki Eldem Auditorium, located in Mimar Sinan Fine Arts University's Findikli Campus. (Meclis-i Mebusan Caddesi 24, Findikli, Istanbul)
Mimar Sinan University was established in 1883 by the famous modern painter and archeologist Osman Hamdi as the first art and architecture academy in Turkey.
The main campus building, located just by the Bosphorus with its remarkable view, is considered one of the best architecture schools and is also one of the centers of art by means of the two museums and several gallery halls in the campus.
The scientific committee consists of significant scholars, such as Patrick Weber/ Bartlett School of Architecture, Sabine Storp/ Storp-Weber-Architecture, PhD Researcher Alessia Riccobono/ University of Palermo, Professor Ryadi Adityavarman/ Kansas State University, Associate Professor Mehdi Sabet/ Zayed University, Research Assistant Dr.Erdem Ceylan/ Mimar Sinan Fine Arts University, Assistant Professor Dr. Ayşegül Kuruç/ Mimar Sinan Fine Arts University http://www.archdesignconference.com/p/scientific-committee.html
You can submit your abstract by entering the online registration system EASYCHAIR at https://www.easychair.org/conferences/?conf=archdesign15
n 1955 The Museum of Modern Art staged Latin American Architecture since 1945, a landmark survey of modern architecture in Latin America. On the 60th anniversary of that important show, the Museum returns to the region to offer a complex overview of the positions, debates, and architectural creativity from Mexico and Cuba to the Southern Cone between 1955 and the early 1980s.
This period of self-questioning, exploration, and complex political shifts also saw the emergence of the notion of Latin America as a landscape of development, one in which all aspects of cultural life were colored in one way or another by this new attitude to what emerged as the “Third World.” The 1955 exhibition featured the result of a single photographic campaign, but Latin America in Construction: Architecture 1955–1980 brings together a wealth of original materials that have never before been brought together and, for the most part, are rarely exhibited even in their home countries.
The exhibition features architectural drawings, architectural models, vintage photographs, and film clips alongside newly commissioned models and photographs. While the exhibition focuses on the period of 1955 to 1980 in most of the countries of Latin America, it is introduced by an ample prelude on the preceding three decades of architectural developments in the region, presentations of the development of several key university campuses in cities like Mexico City and Caracas, and a look at the development of the new Brazilian capital at Brasilia. Architects met these challenges with formal, urbanistic, and programmatic innovation, much of it relevant still to the challenges of our own period, in which Latin America is again providing exciting and challenging architecture and urban responses to the ongoing issues of modernization and development, though in vastly different economic and political contexts than those considered in this major historical reevaluation.
The exhibition is accompanied by two major publications: a catalogue and an anthology of primary texts translated from Spanish and Portuguese.
Organized by Barry Bergdoll, Curator, and Patricio del Real, Curatorial Assistant, Department of Architecture and Design, The Museum of Modern Art; Jorge Francisco Liernur, Universidad Torcuato di Tella, Buenos Aires, Argentina; and Carlos Eduardo Comas, Universidade Federal do Rio Grande do Sul, Porto Alegre, Brazil; with the assistance of an advisory committee from across Latin America.
A major contribution for the exhibition is provided by Emilio Ambasz.
Major support is provided by The International Council of The Museum of Modern Art.
Additional funding is provided by The Reed Foundation, the Mexican Agency for International Development Cooperation (AMEXCID) with the Mexican Cultural Institute of New York, the Consulate General of the Argentine Republic in New York, and the MoMA Annual Exhibition Fund.
Saturday, April 18
8 a.m. – 6 p.m. (times approximate)
Museum Members $65; Public $75 Buy tickets
Note: To receive the member discount, members must log in after clicking through to the ticket purchase screen. Please place the tickets you would like to purchase in your cart and the discount will be applied when you check out. For information about Driehaus Museum memberships, please see the Join section on the website or call 312 482 8933, ext. 21.
Join us this spring for a new travel tour which takes us to Lake Bluff, Illinois to visit Crab Tree Farm, a private estate with farm buildings that display Arts and Crafts collections in settings that have been purposely designed to reflect the aesthetics of the movement. Furniture displayed includes the work of Gustav Stickley (1858–1942), a prominent figure of the American Arts and Crafts movement. In addition to furniture, the collection includes artwork (metal ware, ceramics, textiles, paintings, etc.) created by American, English, and European designers, makers, and artists. An additional stop will be made after lunch, en route back to Chicago.
Fees include guided tours, lunch, and round-trip transportation by motor coach from the Driehaus Museum. For questions about accessibility during the tours, please call 312.482.8933, ext. 31.
Thursday March 26, 2015
6:00pm reception, 7:00pm lecture
$10 per person / $8 for museum members
Second Presbyterian Church, 1936 S. Michigan Ave., Chicago
Reservations requested to 312-326-1480
This lecture will introduce three important women sculptors of the early 1900s and what their careers contributed to American sculpture, architecture, and landscape design. It considers subject matter and style within the biography of each artist. Glessner House features an Anna Hyatt Huntington bronze entitled "Rolling Bear Cub" in its collection.
This lecture is co-sponsored by Friends of Historic Second Church.
Call for Papers: Architectural Theory Review, vol. 20, no. 2
To be published August 2015
Special Issue: Corruption
Editor: Adam Jasper
The New York City 1916 Zoning Resolution was designed in order to ensure light reached the streets of Manhattan. It dictated massing at certain heights in a way that shaped the signature New York skyscraper up until the Second World War. In 1961, the successful example of the 1958 Seagram Plaza lead city authorities to rewrite the laws to encourage developers to create public places in exchange for extra height, and the form of the skyscraper changed again. Inside the building, the appearance and materials of office furniture also transformed in response to accelerations in tax depreciation. The privately owned public spaces that Seagram Plaza engendered include Zuccotti Park, that—thanks to ambiguities regarding police responsibilities—became the site of the 2011 Occupy Wall Street protests. According to the New York Times, in 2012 the Seagram Building had the lowest energy star rating of any structure in New York (at three out of a hundred), making it now illegal to build. Rules, whether adhered to or circumvented, shape cities.
The stories told about architecture rarely revolve around legislation, planning laws, tax rules, price fixing cartels or safety restrictions; but these forces form our designs no less than culture, landscape or style. We are interested in the way in which such restrictions both compromise the autonomy of architecture and act as a creative stimulus.
Corruption goes far beyond stories of crooked developers (although they are worth pursuing). We are interested in all perversions of due process, from the distortions of architectural competitions through to subtle conflicts of interest. As the competing demands of developers, governing bodies and insurers encroach ever further on architecture’s autonomy, pragmatists move from the manipulation of form to the manipulation of institutions, or, to use a formulation by Henry-Russell Hitchcock, the architecture of genius becomes the architecture of bureaucracy.
We are interested in the choreography of regulators, speculators and conspirators, and the subversive prestidigitation of invisible hands. We want to understand enterprise at the margins of the law. Most importantly, we want to understand how practice embodies theory, and how theory accommodates to practice.
Architectural Theory Review, founded at the University of Sydney in 1996
and now in its twentieth year, is the pre-eminent journal of architectural theory in the Australasian region. Published by Taylor & Francis in print and online, the journal is an international forum for generating, exchanging, and reflecting on theory in and of architecture. All texts are subject to a rigorous process of blind peer review.
Enquiries about this special issue theme, and possible papers, are welcome, please email the editor, Adam Jasper: firstname.lastname@example.org
The deadline for the submission of completed manuscripts is Monday, 30 March 2015.
Please submit manuscripts via the journal’s website: http://mc.manuscriptcentral.com/ratr
When uploading your manuscript please indicate that you are applying for this special issue, for example: vol. 20.2 – Corruption.
Manuscript submission guidelines can be found at: www.tandfonline.com/action/authorSubmission?journalCode=ratr20&page=instructions
British Art Studies, which is peer reviewed, encourages submissions on British art, architecture, and visual culture from all periods in their most diverse and international contexts. The journal will reflect the dynamic and broad ranging research cultures of the Paul Mellon Centre and the Yale Center for British Art, as well as the wider field of studies in British art and architecture today.
The digital format of the journal offers new opportunities for displaying images alongside text and multimedia content. The editors are open to proposals and ideas from authors to develop innovative and visually stimulating ways to publish art-historical scholarship
We are currently soliciting submissions of scholarly articles. Texts should be between 5000 and 8000 words in length (although the editors are willing to discuss shorter and longer formats). Authors must include a list of proposed images and sources, as outlined in our style guide, available online: http://www.paul-mellon-centre.ac.uk/408/. The final number of figures and the process of sourcing and commissioning media for articles accepted for publication will be discussed with authors on an individual basis. British Art Studies will endeavour to meet all reasonable costs and deal with copyright issues for illustrative materials essential to the argument of published texts.
The Vernacular Architecture Forum’s Ambassadors Awards provide funding for student groups (undergraduate and graduate) from North American institutions, with a faculty sponsor, to attend VAF’s annual conference. The 2015 conference will be held June 3-7 in Chicago, Illinois. We hope through this program to enhance the VAF’s recruitment of students, to diversify the membership and interest in the work of the VAF, to provide support to programs that teach vernacular architecture, and to increase the VAF’s visibility on campuses. The total Award amount per institution is limited to $2500 with a maximum of $500 per student. Nominations may be submitted to email@example.com.
The deadline is February 1, 2015.
For more information about the application, please go to: http://www.vafchicago.org/ambassador-awards/
Cambridge Talks is the annual spring conference organized by the Ph.D. Program in Architecture, Landscape Architecture, and Urban Planning at Harvard University, dedicated to the exploration of interdisciplinary themes that engage issues of space. In addition to convening a group of senior scholars both interdisciplinary and international in orientation, the conference gives Harvard PhD students a chance to present and discuss their work in a formal context. The entire two-day event is free and open to the public.
Frank Lloyd Wright’s life story is intimately entwined with his home state. To Wisconsin he left a built legacy unmatched by any other area, spanning more than seven decades. He built houses there—both simple and elaborate, from the cozy Richards Bungalow in Milwaukee to his beloved Taliesin. His Usonian house concept and his House for a Family of $5,000-$6,000 Income highlighted in the September 26, 1938, LIFE magazine were first constructed in Wisconsin. He built several lakeside residences there. He built schools in Wisconsin, including the 1887 Hillside Home School and the 1956 Wyoming Valley Grammar School, not to mention his own school at Taliesin. He built religious buildings for both the Greek Orthodox and Unitarian faiths. He built commercial and industrial buildings for Albert Dell German and for the S.C. Johnson Company, and a tall building, one of only two he ever constructed. He built apartment buildings in Wisconsin—the Munkwitz (demolished in 1973) and Richards Duplex Apartments (restored) in Milwaukee, and experimented with the American System-Built Homes and the Erdman Prefabricated Homes projects. He worked out his cast concrete ornamental friezes on both the A.D. German Warehouse and the Bogk House.
And these are just some examples of the rich and varied assortment of designs he scattered around the state. Many more structures envisioned for the state remain only as dreams on paper.
This conference seeks to view Wright’s relationship with his home state through the lens of Wisconsin as Frank Lloyd Wright’s Laboratory. The Conservancy seeks papers that focus on Wright’s experimental nature, particularly in regard to his home state. We are looking for papers that will help us understand the unique and unorthodox nature of Wright’s theory and architecture, or that reinterpret familiar landmarks in unfamiliar ways. Though premised on a “cause conservative,” Wright’s work was radical compared to mainstream tastes, and for a long time. Which of his architectural experiments failed, and why? In which periods of his life was he more open to experimentation?
Potential papers might address such Wisconsin-related topics as Wright’s American System-Built Homes, his designs for low-income housing, his interest in prefabrication or his apartment buildings. What do these projects say about Wright’s social vision? How did they compare to the efforts of architects with similar interests? Other topics might include the Johnson Wax company and Wright, his work in Racine, or his unexecuted projects for Wisconsin. What was Wright’s working relationship with George Mann Niedecken, the famous Milwaukee furniture designer? What was Wright’s relationship to Wisconsin politics?
The conference welcomes papers from individuals working in the areas of architectural, landscape, urban and cultural history, cultural geography, sociology, American Studies or anyone else who can contribute to a discourse about Wisconsin as Frank Lloyd Wright’s Laboratory.
Proposals should present fresh material and/or interpretations. They should be submitted as an abstract of no more than one page, single-spaced, with the author’s name at the top. The text should concisely describe the focus and the scope of the presentation. The proposal should be accompanied by a one-page biography/curriculum vitae that includes the author’s full name, affiliation (if applicable), mailing address, email address, and telephone and fax numbers. Please also note anticipated audio-visual needs for your presentation (final PowerPoint presentations will be requested approximately one month before the conference).
Proposals must be received no later than March 1, 2015. Material sent electronically is preferred. Notification will be sent by March 23, 2015.
Please submit proposals and direct any questions to:
Dale Allen Gyure
College of Architecture and Design, Lawrence Tech University
21000 West Ten Mile Rd.
Southfield, MI 48075-1058
In August 1965, Le Corbusier, recognized as the most important architect of the twentieth‐century,
passed away in the Mediterranean Sea waters. For this reason, the Architectural Design Department at the Universidad Politécnica de Valencia, with the support of the Fondation Le Corbusier in Paris,
promotes this international conference in Valencia.
Le Corbusier was one of the most prolific architects in the creation of links between ideas and images, between visual arts and architecture, between history and modernity. The power of his ideas was continually being tested and confirmed by his architectural work. In his projects, writings, paintings and sculptures he worked out different visions of what should match architectural modernity, which drew on
a personal background built upon diverse ideological references.
If there is any outstanding feature in his career, it is the transversal condition of his creative work. This idea of transversality enables us to open this conference to artists, historians, book publishers, photographers, thinkers and, of course, architects.
The LC 2015 congress will be held on November 18‐20 2015 at the Escuela Técnica Superior de
Arquitectura de la Universitat Politècnica de València (UPV), which has been recently ranked as the best technical university in Spain by the Academic Ranking of World Universities (ARWU) 2014.
STRUCTURE OF THE CONGRESS
Main lecturers* (Tim Benton, Jean Louis Cohen, Antoine Picon, Josep Quetglas, Bruno Reichlin, Arthur
Guest lecturers* (José Ramón Alonso, Juan Calatrava, Arnaud Dercelles, Marta Llorente, Xavier Monteys,
María Cecilia O’ Byrne, Marta Sequeira, Marida Talamona)
(* waiting for confirmation)
Le Corbusier in Rusia “Paris n’est pas Moscou”
Le Corbusier's filmography
Drawings and models of Le Corbusier's work
Presentation of publications on Le Corbusier
Student's work presentation from Architecture Schools
CALL FOR PAPERS
TOPICS OF INTEREST
The program committee encourages the submission of articles that communicate and explore some of
the aspect of Le Corbusier’s work or of his life.
Topics of interest include, but are not limited to, the following topic areas:
• Le Corbusier's formation
• Le Corbusier and the Visual Arts
• Savoir habiter. The question of dwelling.
• Le Corbusier, global architect
• Le Corbusier: texts, books and writings.
• Interiors by Le Corbusier.
• Urban views: Le Corbusier and human habitat
• Le Corbusier: personal moments
• Creative work at 35 rue de Sèvres. Le Corbusier and partners.
• Le Corbusier, 1965. Last year, last work.
• Le Corbusier's legacy
Accepted papers will appear in the conference proceedings, published by UPV Press, and will be provided with a DOI number and indexed in major international bibliographic databases. Authors of selected papers could be awarded and invited to submit an extended version to be published as a chapter in a book edited by the organization of the Congress.
Call for papers: January 12th ‐ March 3rd, 2015
Abstract acceptance: April 7th 2015
Submission of papers, posters, presentations of publications: June 9th 2015
Results of the review process: July 14th 2015
Final paper submission July 28th 2015
Final decision about presentation format (oral, written or poster) September 8th 2015
Printed poster submission: November 3rd 2015
Deadline for early registration: April 17th 2015
Deadline for registration: November 11th 2015
CONFERENCE: November 18th ‐ 20th 2015
Ireland’s Great Hunger Institute at Quinnipiac University
will host a four-day conference entitled
"Women and the Great Hunger in Ireland"
June 3–6, 2015
As Margaret Ward has demonstrated, Irish women have been systematically "excluded and silenced" in written history, thus denying them their rightful position as agents of change. In regard to Ireland’s Great Hunger, while many contemporary depictions of the Famine have been dominated by female imagery, the involvement of women in other ways (e.g., as landowners, as relief-givers or providers for the family) has received little attention. This conference asks: how did women experience—and shape—the tragedy that unfolded in Ireland between 1845 and 1852? And how does the Great Hunger compare with the experience of women in other famines?
This conference seeks to explore the diverse—and still largely unexplored—role of women during the Great Hunger. Where appropriate, a comparative approach is encouraged. Abstracts of 300 words are invited. Please include a short biography (maximum 50 words) including your institutional affiliation and contact address. Papers should be a maximum of 20 minutes in length with 10 minutes for questions and discussion. Proposals for specialist panels are welcome. Postgraduates also are encouraged to submit abstracts. Selected papers may be published in a collection following the conference.
Accelerating international interest and investment into ecological design is the current reality, either in the forms of environmental planning, urban storm water management or living architecture. The incorporation of green roofs and facades of fantastic scale and biodiversity is quickly gaining a forefront position in global architectural concerns, and a great many professional disciplines will find their fields affected by this change. Whether specializing in planning and design, architecture, landscape architecture, urban ecology or environmental science, informing oneself and keeping an edge on the most up-to-date research and techniques is critical for success. The 2015 International Green Roof Conference in Istanbul is an international summit of experts and leaders in this exciting new realm; a unique opportunity for exchange and discussion of the most current achievements in this field.
Noted experts include Dr. Ken Yeang (T.R. Hamzah & Yeang Sdn. Bhd), Prof. Herbert Dreiseitl, Jaron Lubin (Safdie Architects), Laura Gatti (Laura Gatti Studios) and Roland Appl (IGRA).
A pair of workshops will take place on the second day of the Congress. These simultaneous workshops each address an important aspect of Green Roofing. One is practice-oriented, where focus will be laid on the installation and maintenance of Green Roofs. The other is more conceptual, addressing the current state of scientific research and policy formation in the field of Green Roofing. A diverse panel will be present to describe and discuss these two facets of the industry.
The 4th International Green Roof Congress will host important players involved in the promotion of Green Roofs worldwide, through exceptional works of architectural achievement.
Logos: (available in higher resolution from www.greenroofworld.com)
Key words/Topics: green roofs, roof garden, living roof, façade greenery, vertical greenery, urban planning, stormwater management, green buildings, sustainability, Istanbul, Turkey, IGRA,
Maker & Muse: Women and Early Twentieth Century Art Jewelry features more than 250 exemplary works of art jewelry between the late Victorian Era and the First World War, including cloak clasps, hair ornaments, pins, brooches, rings, bracelets, pendants and necklaces. This groundbreaking exhibition illuminates the international proliferation of art jewelry through the lens of woman as its maker and muse. For the first time during this period, women emerged as prominent jewelry makers in their own right, establishing independent studios amid changing social norms. In other regions, the female figure acted as a powerful muse, appearing in jewelry as audacious and novel motifs.
Drawn from the Driehaus Collection’s extensive jewelry holdings and prominent national collections, many of these stunning pieces have never been seen by the public. The exhibition upholds the same ideals of beauty as did its makers, who in the early decades of the twentieth century were inspired by broader art movements of the day to create handcrafted jewelry with dramatic forms, intricate craftsmanship, saturated colors, and semiprecious stones.
Maker & Muse explores five different areas of jewelry design and fabrication: the Arts and Crafts Movement in Britain, Art Nouveau in France, Jugendstil in Germany and Austria, Louis Comfort Tiffany in New York, and American Arts and Crafts in Chicago. Each section explores the important female figures and historic social milieu associated with these movements.