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  • SITElines.2016 much wider than a line

    Sante Fe | Dates: 08 Aug, 2016 – 08 Jan, 2017
    SITElines.2016 much wider than a line

    SITE Santa Fe presents 
    SITElines.2016: New Perspectives on Art of the Americas

    Opening in July, this exhibition, entitled much wider than a line, is part of SITE’s ongoing biennial series with a focus on Contemporary Art from the Americas

    PREVIEW EVENTS: JULY 14 – 15, 2016
    PUBLIC OPENING: JULY 16, 2016

    #SITELINES2016
    #muchwiderthanaline

    SITE Santa Fe is pleased to present SITElines.2016 opening on July 16, 2016. This exhibition is the second installment in SITE Santa Fe’s reimagined biennial series with a focus on contemporary art from the Americas and features 35 artists from 16 countries and 11 new commissions organized around intersecting ideas brought together by a team of five curators−Rocío Aranda-Alvarado, Kathleen Ash-Milby, Pip Day, Pablo León de la Barra, and Kiki Mazzucchelli.

    This year’s biennial, entitled much wider than a line, is an articulation of the interconnectedness of the Americas and various shared experiences such as the recognition of colonial legacies, expressions of the vernacular, the influence of indigenous understandings, and our relationship to the land.

    much wider than a line takes its title from Leanne Simpson’s, Dancing on our Turtle’s Back, a book about life ways of Nishnaabeg people. In her accounts of non-colonial conceptions of nationhood and sovereignty, it is the joint care taking required in the overlapping territorial boundaries between one Indigenous nation and another that are traditionally relationship-building. The relationships that emerge are, like the borders themselves, much wider than a line.

    The organizing principles of the exhibition take their cue from the remarkable amphitheater structure in Santa Fe designed by the architect Paolo Soleri. Commissioned in the 1960s by Lloyd Kiva New, then Arts Director of the newly founded Institute of American Indian Arts, the Paolo Soleri Amphitheater was originally built to support their groundbreaking curricula in contemporary American Indian drama. The organic concrete building drew on principles of Native American design, and was host to extraordinary performances of American Indian Theater that bridged cultures and histories. The amphitheater was completed in 1970 on the campus of the Santa Fe Indian School (established in 1890 to assimilate Native American children from tribes throughout the Southwestern United States). Today, the structure stands empty, derelict, and is very much a contested site. With research contributed by Conrad Skinner, AIA, much wider than a line presents a gallery dedicated to the amphitheater that expresses its role as both a historically potent forum for the exploration of collaborative cross-cultural processes and a stand-in for complexities of geopolitical tensions that presently exist in the region and throughout the Americas.

    Key thematic threads explored in much wider than a line include:

    Vernacular Strategies The importance of vernacular sources−in design, architecture, textiles, and technique− that influence the work of artists throughout the Americas.

    Indigenous Understandings Performance, ritual, histories, and materials drawn from indigenous sources, as they relate to the natural world.

    Shared Territories The complexity of networks and affinities in the Americas through questions around identity, race, borders, and emerging de-colonial practices.
  • CFP: Landscapes of Pre-Industrial Cities (Washington, 5-6 May 17)

    Washington | Dates: 05 Aug – 15 Sep, 2016
    LANDSCAPES OF PRE-INDUSTRIAL CITIES 
    GARDEN AND LANDSCAPE STUDIES SYMPOSIUM 2017
    DUMBARTON OAKS, WASHINGTON, D.C.
    MAY 5-6, 2017

    CALL FOR PAPERS (DEADLINE: SEPTEMBER 15, 2016)
     
    The use of the word “landscape” to describe the formation and infrastructure of cities—as reflected, for example, in current theories of landscape urbanism—largely seems to express contemporary preoccupations with the post-industrial urban condition. Indeed, the Industrial Revolution is often seen as a turning point in the emergence of the urban landscape of the modern metropolis. The large city as commonly experienced today in the world—whether vertical or horizontal, congested or diffused, and divorced from productive nature—is certainly dependent on a range of recent (or quite recent) breakthroughs in construction technology, climate control, communication, and transportation. In this view, urban landscapes appear as a historically late development and are therefore seen to embody an essentially modern and Western concept.  

    Yet, features associated with contemporary urban landscapes—most notably the forms of human adaptation to and reshaping of the sites where cities develop and expand—can also be found in pre-industrial contexts in different time periods and across the globe. Pre-industrial urban settlements generally occupied land that had been used for other, mostly productive, purposes, and their development involved complex and dynamic relationships with the management of natural resources, especially food and water. While ancient cities are traditionally studied as the centers of commerce, trade, and artisan production as well as the seats of secular and religious authorities, questions of how the original clusters of agrarian communities evolved into urban formations, how they were spatially organized, and what their specific landscape characteristics were deserve further analysis and discussion. Another closely related question concerns the role of environmental factors and the presence or lack of particular natural resources in enabling this process of urbanization.

    To explore these questions, the Garden and Landscape Studies program at Dumbarton Oaks is planning a symposium, Landscapes of Pre-Industrial Cities. Organized by Georges Farhat (University of Toronto) and John Beardsley (Dumbarton Oaks), it will be held on May 5–6, 2017. Topics will be drawn from a wide range of historical periods and a global geographical perspective; it is anticipated that presentations will represent a wide range of disciplines and include both scholars and practitioners. In order to integrate this discussion into the current debate on the sustainable city, the speakers will be asked to address the following questions:

    How was the modern dichotomy between the urban and the rural historically expressed in the relationship between cities and the natural environment—especially with respect to land use, environmental control, and resource management?  

    To what extent was the ability to exert control over the natural environment and its resources through territorial expansion, hydraulic management, and land reclamation a determinant factor in the design, evolution, and historical fortunes of pre-industrial cities?

     What sense can we make of the contemporary concepts of urban sprawl, biodiversity, climate change, connectivity, and integrated management of natural resources if applied to pre-industrial urban landscapes? What implications does this understanding have for current scholarship, design strategies, and planning policies in an age of ecological transition? 

     Please send proposals including a 200-word abstract and a short CV (with five most significant publications), by September 15, 2016, to Georges Farhat, georges.farhat@daniels.utoronto.ca, and John Beardsley, BeardsleyJ@doaks.org.
  • City in a Garden: Alfred Caldwell's Eagle Point Park

    Dubuque | Dates: 07 – 08 Oct, 2016
    Heritage Works Inc. is hosting a symposium:  "City in a Garden:  Alfred Caldwell's Eagle Point Park" as part of its inaugural Dubuque Heritage Festival on October 7 & 8, 2016. This year’s festival will highlight Alfred Caldwell’s work at Dubuque’s Eagle Point Park.

    In 1934, the City of Dubuque, Iowa, turned to a young Prairie School landscape architect, Alfred Caldwell, to design and then supervise the construction of landscapes and shelters at Dubuque’s Eagle Point Park.  It was Caldwell’s first large scale commission.  Over 80 years later, we are now celebrating his work with a two-day symposium and community celebration focusing on Caldwell’s work. 

    The symposium: “City in a Garden:  Alfred Caldwell’s Eagle Point Park” is designed for those interested in learning more about Caldwell’s work through the lens of his designs for Eagle Point Park. A list of speakers can be found on our website. Additionally, 6.0 hours of AIA CEUs and LA CES are pending approval.

    The symposium is part of a community event that will include the opening of an exhibit on Friday evening, October 7th at the Dubuque Museum of Art featuring original Alfred Caldwell drawings and artifacts from his time in Dubuque. There will be docent-led tours of Caldwell’s shelters and landscapes at Eagle Point Park on Saturday, October 8th. We hope that you will attend and also invite your colleagues and constituents to attend. 
  • Organicism, Open Systems, and Technology in Feminist Art (New York, Feb. 15-18, 2017), Deadline Aug. 30

    New York | Dates: 04 – 30 Aug, 2016
    For the CAA session “Organicism, Open Systems, and Technology in Feminist Art” we seek papers that shed new light on the theoretical origins of process, growth, and collaboration in feminist art that derive from the sciences. We are particularly interested in how women artists re-conceptualized scientific theories of organicism and open systems, and notions of technological progress in support of their social and utopian aims. We welcome papers focusing on feminist practitioners in art, architecture, and design working in the US and internationally.  The scientific theory of open systems put forth by biologist Ludwig von Bertalanffy, for example, became a model for artists conceptualizing an ever-changing relationship between humans and their social, political and “natural” environment. Also rooted in the natural sciences, notions of organicism were taken up by many twentieth century designers, architects, and urban planners, including Frank Lloyd Wright and Buckminster Fuller. They conceived human-made structures and new technologies in analogy to naturally growing forms. Among other questions, this session asks: How did feminist artists incorporate science and technology as theory, process, or media to convey ideals that were in many ways opposed to the notion of scientific objectivity undergirding a rationalized, male-dominated society? In what ways did women’s involvement with the art and technology movements of the 1950s and 60s impact their subsequent feminist practices? How did women artists engage with the utopian rhetoric centered on science and technology in the context of the space race or New Left criticism of the military-industrial-complex? Please submit a paper abstract (250 words max.), CV, and session participation form by August 30 to Susanneh Bieber, Texas A&M University, bieber@tamu.edu, and Christine Filippone, Millersville University of Pennsylvania, cfilippone@millersville.edu See http://www.collegeart.org/pdf/2017-call-for-participation.pdf for more information including the session participation form (last page of the pdf).
  • CFP: Building Technology Educators' Society 2017 Meeting (Des Moines, 8-10 Jun 17)

    Des Moines | Dates: 03 Aug – 15 Sep, 2016
    Building Technology Educators’ Society 2017 Meeting
    Des Moines, IA 8-10 June 2017 Call for Papers

    TOPIC: Poetics and Pragmatism.

    “Talk is cheap and easy; making dreams real takes hard, humble work. Dreams in the Midwest are acceptable, just keep them to yourself. Maybe tell your family, but don’t just talk—do something about it.”             Peter Jenkins, Looking for Alaska

    Iowa opened to European-American settlers in 1834, and ever since it has been a place where Americans have held a tenuous grip on the land and against a climate that resists occupation.  Its soil produces grain for the entire continent; its legendary work ethic has fueled generations of farmers but also writers, poets, musicians, and astronomers.  It is a place that takes the real world seriously, but that has also raised the products of such engagement to poetic levels; the novels of Marilynne Robinson, the music of Greg Brown, and the paintings of Grant Wood all speak to this possibility among the sublime landscapes of our state.  But it is also a place of technological engagement and advancement: Iowa State can make a legitimate claim to be the birthplace of digital computing, a legacy reflected in its investment in fabrication and analysis initiatives today.

    BTES’ first meeting in the Midwest offers an opportunity to ask how building can address both practical and poetic desires.  The ‘hard, humble work’ of constructing in an indifferent environment can balance our needs with what that environment has to offer while touching our deeper sensibilities.  Indeed, cognitive science has produced evidence suggesting that beauty, in the words of Denis Dutton, is “nature’s way of acting at a distance,” an instinctive preference for objects, landscapes, and sustenance that can leverage our relations with the world.

    How do the pragmatics and the poetics of building coincide?  How do they resist, challenge, or provoke one another?  How do buildings and the ways in which we build bridge realms of material performance and aesthetics?  And how does a new generation of tools collide with, enhance, or critique these traditions?  We seek papers on a broad range of topics that address how and why we build, that examine technology and techne in the contexts of function, beauty, and poetics, and that reveal these links both in contemporary practice and throughout history.  Papers that address Midwestern traditions are particularly welcome, but we seek a broad mix of geographical, conceptual, and disciplinary approaches.

    Submit abstracts of no more than 500 words via EasyChair. Papers will be reviewed in a two-stage process.

    Deadline for abstracts: 15 September 2016
    Notifications to Authors:  1 November 2016
    Final Papers Due: 1 March 2017
    Notification of Paper Acceptance:  15 April 2017
  • CFP: The Architect as Active Reader (15-17 Jun 17)

    Vicenza | Dates: 03 Aug – 15 Sep, 2016
    The Centro Internazionale di Studi di Architettura Andrea Palladio will organize an international conference on the theme of The Architect as Active Reader, 15-17 June 2017.

    Printed treatises and texts have been the main vehicle for the communication of architectural ideas. Architects and builders, as owners of these texts, have left records of their thoughts in the form of subsequent annotations, comments, and drawings within the texts or closely connected to them. In developing the notion of the architect as an “active reader” who absorbs new information for future practical application, the conference seeks to bring out examples of architects in dialogue with texts.

    Geographic area and time period are open. Scholars may apply individually or propose a theme to be carried through in a single session by a group or team. (Such a theme might address a single architect’s varied reading practices; multiple approaches to a single work; the collecting practices revealed in an architect’s library). Contributions from scholars and librarians are welcome. 

    Those interested in participating with a contribution (20 minute limit) should send an outline (no more than 250 words) and brief CV (no more than 100 words) to Ilaria Abbondandolo (ilaria.abbondandolo@cisapalladio.org) by 15 September 2016. Speakers will be notified by 31 October 2016.
  • National Humanities Center Fellowships 2017-2018

    Research Triangle Park | Dates: 02 Aug – 18 Oct, 2016
    The National Humanities Center will offer up to 40 residential fellowships for advanced study in the humanities for the period September 2017 through May 2018. Applicants must have a doctorate or equivalent scholarly credentials. Mid-career scholars as well as senior scholars are encouraged to apply. Emerging scholars with a strong record of peer-reviewed work are also invited to apply. The Center does not normally support the revision of a doctoral dissertation. In addition to scholars from all fields of the humanities, the Center accepts individuals from the natural and social sciences, the arts, the professions, and public life who are engaged in humanistic projects. The Center is international in scope and welcomes applications from scholars outside the United States.

    Areas of Special Interest. Most of the Center’s fellowships are unrestricted. Several, however, are designated for particular areas of research, including fellowships for environmental studies, English literature, art history, Asian Studies, theology, and a young woman in philosophy. The Center also invites applicants from scholars in inter-disciplinary fields, including African American Studies, area studies, Cultural Studies, and Media Studies.  

    Stipends. The amounts awarded are individually determined, according to the needs of the Fellow and the Center’s ability to meet them. The Center seeks to provide at least half salary and covers travel expenses to and from North Carolina for Fellows and dependents.  

    Facilities and Services. The Center provides a rich environment for individual research and the exchange of ideas. Located in the progressive Triangle region of North Carolina, near Chapel Hill, Durham, and Raleigh, the Center affords access to the rich cultural and intellectual communities supported by the area’s research institutes, universities, and dynamic arts scene. The stunning Archie K. Davis building includes private studies for Fellows, conference rooms, a central commons for dining, lounges, and reading areas. The Center's unparalleled, comprehensive library service supports Fellows by fulfilling thousands of requests for books and other research materials from out partner institutions in the Triangle, usually within 24 hours, and libraries around the world. Library staff also provide reference assistance and instruction in new online research tools. 

    Support. Fellowships are supported by the Center’s endowment, private foundation grants, contributions from alumni and friends, and the National Endowment for the Humanities.

    Deadline and Application Procedures. Applicants submit an application form, a curriculum vitae, a 1000-word project proposal, and three letters of recommendation. The application form and instructions may be found at the Center’s website: http://nationalhumanitiescenter.org. Applications and letters of recommendation must be submitted online by October 18, 2016.

    http://nationalhumanitiescenter.org            e-mail <nhc@nationalhumanitiescenter.org>

    The National Humanities Center does not discriminate on the basis of
    race, color, sex, gender identity, religion, national or ethnic origin, handicap, sexual orientation, or age. We are dedicated to fair treatment, diversity, and inclusion.
     
  • CFP: Institutional Modernism: Public Art and Architecture (Canberra, 1-3 Dec 16)

    Canberra | Dates: 29 Jul – 26 Aug, 2016
    The Annual Conference of the Art Association of Australia and New Zealand (AAANZ) will be held in Canberra from 1 to 3 December 2016.

    Session: INSTITUTIONAL MODERNISM: PUBLIC ART AND ARCHITECTURE

    Session chairs: Janina Gosseye & Hannah Lewi

    In 1948 Siegfried Giedion suggested that 'no real civilization exists which did not fulfil the irrepressible longing for institutions where ... a kind of broader [community] life could develop'. He continued: 'In different periods these institutions [have] had different aims, but whether they were called the Greek gymnasion [sic.], the agora, the Roman Thermae or fora, the guilds, the medieval market places or cathedrals, they all contributed in developing human values.' The Swiss architectural historian and exponent of modernism thereby added to his 1943 argument that 'people desire buildings that represent their social, ceremonial, and community life.'

    In the second half of the 20th century, as Australia progressively suburbanized, government and religious institutions responded. An impressive array of new institutional buildings were commissioned and built which were deemed capable of shaping citizens' 'social, ceremonial and community life': municipalities built kindergartens, local public libraries, civic centres and swimming pools; state governments built campuses for mass tertiary education; and the church - seeking to reinvigorate worship - invested in modern church buildings. According to Giedion a close collaboration between architects, landscapers, painters and sculptors was required to ensure that these buildings would function as true civic centres, where the artist's talent 'could touch the great public [and] form the people.'As a result, many of these new institutional spaces featured public artworks that sought to engage the community in interactive and expressive ways.

    This session seeks proposals that critically re-examine how public art developed in conjunction with a new wave of 'institutional' modernism in Australia in the second half of the 20th century, and the ways in which this intended symbiosis between architecture and art was thought capable of representing and indeed coercively forming a new kind of humanist and civil society.

    Send abstracts to: j.gosseye@uq.edu.au<mailto:j.gosseye@uq.edu.au> until 26 August 2016.

    Proposals  should consist of the following:

    1. Completed session participation proposal form, or an email that provides the required information.

    2. A letter or email briefly outlining expertise and interest in the topic of the session and the conference theme.

    3. An abstract of the proposed paper, of no more than 400 words.

    4. A brief cv (last 5 years/ one page maximum).

    More information can be found on: http://aaanz.info/aaanz-home/conferences/2016-conference/work-art-2016-call-papers/
  • CFP: VIRAL, Inaugural Issue of Technology | Architecture + Design

    Dates: 29 Jul – 01 Sep, 2016
    The Call for Papers for the inaugural issue, VIRAL, is open and accepting submissions at editors@TADjournal.org until September 1, 2016. 
     
    TAD is a peer-reviewed international journal dedicated to the advancement of scholarship in the field of building technology, with a particular focus on its translation, integration, and impact on architecture and design. TAD will solicit, capture, and share new knowledge in the ways we think, make, and use technology within the building arts. Published articles will feature primary research in emerging materials, construction techniques, design integration, structures, building systems, energy, environmental design, information technology, digital fabrication, sustainability and resiliency, project delivery, the history and theory of technology, and building technology education. Aimed at researchers, educators, and practitioners, the journal advances and transforms the current discourse on building based technologies with the goal of expanding, reimagining, and challenging its role for architecture and design.

    Editorial Board 
    Caryn Brause, University of Massachusetts Amherst
    Chris Ford, Stanford University
    Kyle Konis, University of Southern California
    Clare Olsen, Cal Poly, San Luis Obispo
    Jeane Ripple, University of Virginia
    Franca Trubiano, University of Pennsylvania
    Marci Uihlein, University of Illinois at Urbana-Champaign
    Andrzej Zarzycki, New Jersey Institute of Technology
     
  • CFP: MD Journal: Synapses. Design and Connectivity

    Dates: 28 Jul – 01 Sep, 2016
    CALL FOR PAPERS
    Dear Distinguished Colleagues and Friends,
    We are delighted to announce the second Issue of the  MD Journal focused on “Synapses. Design and Connectivity, Networks and Interactions among objects, services, environments and people”.
     
    For this MD Journal call, we seek to engage the ongoing design changes on issues of connectivity between objects and environments at different size levels and to promote new ideas on a broad user experience across social interactions and networked systems. The MD Journal second issue aims to reflect on the connectivity as a design focus in the contemporary culture by bridging various stimuli coming from design, architecture and networks sciences. This issue try to emphasise emerging paths and scenarios that are shaping a wider connectivity.
    Adopting the synapses’ concept - often used to indicate the flow among neurons stimuli- we are particularly interested in underpinning those studies and projects that are transforming the ways we design today, merging more and more communication, interaction and technology contexts. The field of Connectivity has been originally practiced for years into the human-machines interaction discipline in response to an increased miniaturization of data transmission technologies. This progression are now radically changing the configuration of the communication and interactions between objects and people as well as possible design concepts and related practices. Moving from the classical Machine to Machine (m2m) ground, the Internet of Things (IoT) design field is becoming a very wide influential phenomena. Nowadays, this evolution lacks the constructive energy between conceptual, theoretical and methodological approaches that we really need to increase the awareness of such connectivity development and on what this overall body of design knowledge offers. At the same time, the increasingly growing of mobile pervasive devices and wearable interactions  has opened innovative ways to design everyday objects.
    This call invites diverse communities of theorists and practitioners. We welcome contributions from a range of emphasis: scientific papers, critical review, design methodologies, conceptual and experimental approaches, case studies, prototypes and pilot projects. Areas of interventions could include small and large design sizes. Specifically, with this issue, we hope to explore multidisciplinary approaches across two sides: theoretical and materials. On one side we aims to extend the IoT field of study from the general approach to the more scientific one, bridging research areas on digital objects, services and environments, user-centered design, smart objects, social platforms and networked systems. 
    Possible topics of exploration include, but are not limited to:
    •              Ecosystems of networked objects;
    •              Networked interfaces and new materials for smart buildings;
    •              Wearable technology;
    •              Ambient Intelligence and Smart Environment;
    •              Energy management and networked systems;
    •              Biohacking, healthcare and wellbeing;
    •              Personal informatics and quantified self;
    •              Open source and open hardware;
    •              Open data and infoviz systems;
    •              Interactive experiences in smart exhibition and cultural heritage;
    •              Transportation and public spaces;
    •              Privacy, security and ethics in a connected world;
    •              Social platforms for data sharing.
     
    We seek the presentation of unique, ground breaking, significant case studies, practice of design, prototypes and the review of pilot projects from an academic and not perspective.
    Prospective authors are encouraged to submit an electronic version of original, unpublished manuscripts in English or Italian language. Contributions will be archived digitally on a web-based Open Access publication.
    Deadline for abstract September 1st, 2016. Please submit for a peer review to materialdesign@unife.it.
    Important dates:
    Abstract submission September 1, 2016
    Notification of Abstract Review September 6, 2016
    Submission paper October 30, 2016
    Notification of Peer Review Results November 20, 2016
    Submission of final version December 10, 2016
    Publication December 2016
    For further details, see the Call for Submission announcement 
    http://www.materialdesign.it/en/journal-md//call-for-paper_60.htm.
    Vanessa De Luca, Editor
    SUPSI, University of Applied Sciences and Arts of Southern Switzerland
    Michele Zannoni, Editor
    Università della Repubblica di San Marino
     
  • CFP: The Stones Cry Out: Modes of Citation in Medieval Architecture, ICMS (Kalamazoo, MI, May 11-14, 2017) Deadline September 15

    Kalamazoo | Dates: 28 Jul – 15 Sep, 2016
    Call for Papers: The Stones Cry Out: Modes of Citation in Medieval Architecture International Congress on Medieval Studies, Kalamazoo, May 11-14, 2017 Organized by Lindsay Cook (Columbia University) and Zachary Stewart (Fordham University) Citation, understood in its earliest legal sense, refers not to the act of reiterating or to the act of repeating but rather to a formal process of assembling parties separated by space and time. It is therefore best understood as a complex procedure for forging new relationships between people, places, and things that, though highly structured, are by no means inherently stable. Over the past several decades, a growing number of scholars—including, most notably, Wolfgang Schenkluhn, Hans-Joachim Kunst, Dieter Kimpel, Robert Suckale, Dany Sandron, and Arnaud Timbert—have examined, in explicit terms, the role of citation in architectural production during the Middle Ages. On the one hand, their work has been of great benefit to the field, demonstrating that citation is a productive paradigm for understanding the ways in which isomorphic relationships enable spatial environments to create, support, or subvert social orders. On the other hand, their work has also raised troubling questions about the capacity of buildings to convey meaning, assuming as it does that architecture, like language, functions as a coherent semiotic system. Vitruvius laid the groundwork for the application of this logocentric analogy to classical architecture, but does it necessarily obtain within all modes of architectural production, particularly those considered un- or anti-classical? What are the advantages or disadvantages of choosing citation—versus imitation, replication, appropriation, influence, or habit—as a discursive frame for studying the recurrence of formal elements within architectural ensembles? How does such a visually oriented method address issues of production, perception, technology, function, and value? How might it alter current accounts of the design, construction, and meaning of buildings modeled after famous precedents such as St. Peter’s in Rome, the Hagia Sophia in Constantinople, the Great Mosque of Damascus, the Church of the Holy Sepulchre in Jerusalem, or the Sainte-Chapelle in Paris? This session invites papers that pursue these kinds of questions as they pertain to the diverse building cultures of the Middle Ages, West and East, between c.300 to c.1500. Highly encouraged are contributions that investigate the stimuli for citation, the media that make it possible, and the agents that make it productive. Especially welcome are papers involving case studies that consider the potential volatility of architectural citation across cultures, regions, institutions, audiences, materials, architectural types, art-historical styles, or chronological periods. Contact Lindsay Cook (lsc2140@columbia.edu) and Zachary Stewart (zdstewart@gmail.com) to propose a 20-minute paper. Submissions must include a title, a one-page abstract, a short CV, and a completed Participant Information Form (available here: wmich.edu/medievalcongress/submissions). Proposals will be accepted through September 15, 2016.
  • CFP: Decoding Destruction and Decay

    New York | Dates: 27 Jul – 30 Aug, 2016
    This is a call for papers for a session to be held at the College Art Association's Annual Meeting in New York City in February of 2017. In recent years, theoretical concepts of the ruin as memorial, as inspiration, and as symbol have generated scholarly inquiry and public fascination alike. The physical study of ruinous buildings tends to be overshadowed by the current emphasis on meaning and morality, and yet ruins and their conservation or restoration have long been sources for both new scholarship and the reevaluation of existing scholarly constructs. By making visible what was never intended to be visible, fragmentation provides significant insight into structure, materials, and architectural practices. Divergent interpretations of architectural fragments can lead to vastly different constructs of the history of style; processes of cleaning and restoration provide opportunities to examine building materials with new technology while simultaneously preventing—perhaps permanently—the chance for future scholars to perform the same kinds of evaluations. Restoration may create substantively new buildings that await incorporation into the history—and historiography—of architecture and the built environment. We propose a session that examines loss, destruction, fragmentation, and restoration in the context of intellectual inquiry. Potential questions include: what are the ramifications of studying buildings in their less-than-complete states? How does decay, disaster, or resurgence lead to the reordering of architectural canons? What are we able to see, understand, or imagine in architectural fragments that would otherwise be impossible in a complete or restored structure? What can we learn from buildings via processes of preservation or restoration, and how do such processes open or close different means of investigation? Session sponsors: Sarah Thompson, Rochester Institute of Technology, and Maile Hutterer, University of Oregon. Interested applicants should visit http://www.collegeart.org/news/2016/07/05/2017-call-for-participation-now-open/ to download submission instructions, which are listed on the call for papers.
  • The Discipline of Nature: Architect Alfred Browning Parker in Florida

    Miami | Dates: 24 Sep, 2016 – 15 Jan, 2017
    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. 
     
  • Endless Images: A SoCal Summer Program

    Laguna Beach | Dates: 14 – 15 Aug, 2016
    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: 
    https://docs.google.com/forms/d/1x1kGEyubbWxIViXd5xGSxCdMtHhGdkA4ObxkgJRm0Ko/viewform

    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

    St. Paul | Dates: 18 Aug – 30 Dec, 2016
    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.
  • Living and Sustainability: An Environmental Critique of Design and Building Practices, Locally and Globally

    London | Dates: 09 – 10 Feb, 2017
    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. 

    Registration: http://architecturemps.com/london-2017/
  • Digital Humanities and Historic Preservation

    Dates: 18 Jul – 01 Oct, 2016
    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 pereditor@gmail.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. About PER 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.
  • Documenting the Visual Arts

    Dates: 01 – 01 Nov, 2016
    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: rhallas@syr.edu
  • CFP - "Ancient Worlds, Digital Screens," SCMS Chicago, 22-27 March 2017

    Chicago | Dates: 18 Jul – 01 Oct, 2016
    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: braden.scott@mail.mcgill.ca by August 10, 2016. The finalised panel will be proposed to SCMS by August 31, 2016.
  • Garden City | Mega City

    New York | Dates: 15 Jul – 04 Sep, 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.
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SAH thanks The Richard H. Driehaus Foundation Fund at The Chicago Community Foundation for its operating support.
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