Recent Opportunities

  • Mason City Architectural Walking Tours

    Mason City | Dates: 04 Jun – 24 Sep, 2016
    Explore Mason City’s treasured Prairie School architectural heritage. See the largest grouping of such homes on a unified site, ending at a home designed by Frank Lloyd Wright in 1908, his first in Iowa.

    To book a tour for your class/group please call 641-421-3666 or email at least two weeks in advance so we have time to schedule you a docent.

    Scheduled tours are seasonal and take place every Saturday at 9 a.m. (for $5/person) from June through September, weather permitting. Please call ahead to reserve your spot or if you are wondering about weather. Tours last around 45 minutes.

    Cost of Tours

    – Educational Groups will be given tours at no cost.
    – Non-Educational groups will be charged $5 per person (minimum 10 participants).
    – We can also arrange to do a “step on” tour for bus groups. Please call 641-421-3666 to arrange this at least two weeks ahead of time. Our docent would then get on your bus and the tour would be done by driving instead of walking. This price is the same $5 per person.

    We sell Walking Tour Guide books at the museum for $5 each if you would rather do your own tour.
  • The Chapel of Contador Saldaña at Santa Clara de Tordesillas: New Proposals about its Original Appearance and Role in the Fashioning of Identity by an Early Fifteenth-Century Converso

    London | Dates: 15 – 15 Jun, 2016
    Speakers include

    Dr Nicola Jennings: The Courtauld Institute of Art
    Organised by

    Dr Guido Rebecchini: The Courtauld Institute of Art

    The paper proposes revisions to the chronology of the chapel’s construction, its layout, the identities of the effigies, and the locus of production of the carved retable, as well as re- interpreting some of its imagery.

    Nicola has recently given papers on conversos, material culture and patronage at the International Medieval Congress in Leeds, Renaissance Society of America Conference in Berlin, International Medieval Meeting in Lleida, and Medieval Hispanic Research Seminar Colloquium at Queen Mary’s University, London.  Her publications include contributions to catalogue entries on panel paintings at Compton Verney and Sam Fogg, London. Nicola completed her PhD with Prof. Susie Nash in 2015. Nicola is Visiting Lecturer at The Courtauld Institute and Research Associate at Coll & Cortés in London.  Before studying at The Courtauld, Nicola worked at the National Gallery and at City University.
  • The Arts & Science in Early Islamic Spain

    London | Dates: 15 – 15 Jun, 2016
    There is a symbiotic relationship between design, art and visual culture, and the exact sciences, which is attested in early scientific objects from al-Andalus and in medieval Arabic texts. In this talk I explore the objects, spaces, and figures that illuminate this relationship, focusing on ‘Abbas Ibn Firnas (d. ca. 887), the celebrated polymath of the Cordoban Umayyad court, and on al-Andalus and its contemporaries between the 9th-11th centuries.

    Glaire D. Anderson is a historian of Islamic art of the caliphal period, with a focus on the art and court culture of Umayyad Cordoba. She is the author of The Villa in Early Islamic Iberia (Ashgate, 2013), co-editor with Mariam Rosser-Owen of Revisiting al-Andalus (Brill, 2007), and recent articles on the Islamic west in architectural history, women and the arts of Cordoba, and material culture and caliphal sovereignty.
  • OASE # 98 Narrating Urban Landscapes

    Dates: 08 Jun – 15 Jul, 2016
    This issue of *OASE* brings together an interest in the perception and
    design of urban landscapes with a particular methodological view. In urban
    planning and landscape practices developed in recent decades, notions such
    as ?sense of place? and site-specificity have been reintroduced as leading
    concepts, especially in redevelopment of ?post-productive? landscapes:
    former industrial areas, brownfields, harbours, mining sites, etcetera.
    Here, the landscape was transformed and manipulated rigorously in favour of
    industrial production processes, and often planned from a bird?s-eye
    perspective, according to tabula rasa methods or zoning plans projected
    directly from the drawing table onto the territory. In redesigning and
    making accessible such spaces, this abstracting perspective made way for an
    approach taking into account the experience on the terrain, rooting the
    identity of a site in a retracing of former uses. Therefore, in much of
    these reconversion projects (for example in Emscher Park), design
    approaches are called in that claim to ?read? the different layers and
    meanings of a site, understood as the locus of different stories, which can
    be revealed, reconstructed and altered. Today, a new type of redevelopment
    is high on the agenda: that of suburban areas around or between cities.
    Built mainly in the post-Second World War period, these urban landscapes
    are subject to far-reaching demographic changes and development pressure,
    especially because most city centres and the above-mentioned
    post-productive landscapes are becoming fully developed. However, suburban
    areas often seem to lack the site-specificity and the history of inner
    cities and brownfields. An important challenge is how to enhance the
    legibility of an urban landscape that has been planned in a seemingly
    chaotic way, from tabula rasa planning to a piecemeal infill, juxtaposing
    layers and ? often contradictory ? meanings? If suburbia is to become city,
    what is its ?sense of place?? And what is the story that holds it together?

    This issue of *OASE* investigates narrative approaches of analysis and
    design of both post-productive and suburban landscapes. How are narrative
    means (textual as well as visual) used as a way to (re)construct stories of
    landscapes, to reveal site-specific identities, to investigate experiential
    qualities, to place the subject back in the centre of the analysis and
    design project? How does narrativity foster the experience of temporality
    and history in the experience of landscape? A fertile ground for such
    explorations, in which the ?reading? of the urban landscape became subject
    of urban investigation, can be found in the critical responses to the
    abstracting perspective of modern architecture and urban planning, for
    instance by the British *Townscape* movement, and in the interest in the
    subject?s experience of the urban landscape in the work of American
    designers and researchers such as Kevin Lynch, Lawrence Halprin, Edmund
    Bacon, Robert Venturi and Denise Scott Brown. In the course of the 1960s
    and 1970s, their field of interest shifted from the inner city to suburbia
    and highway landscapes, which were in full development at the time. They
    used a wide range of media that can be described as ?narrative?: ?serial
    views?, interviews, mental mapping and they experimented with the juxta-
    and superposition of photographic images, sketches, text and maps. However,
    this interest in experiential and narrative aspects of urban landscapes has
    its precedents in older site-specific and experience-oriented approaches
    (for example Camillo Sitte?s attempt to link the modern city to the
    specificity of the site and the pedestrian experience), as well as in
    landscape architecture (for example the picturesque garden, specifically
    designed from a routing as a narrative structure).

    This issue of *OASE* aims to explore the legacy of these historical
    approaches, and seeks appropriations of such methods to address today?s
    questions of urban landscapes. We are looking for two types of
    contributions. First, we invite contributions of/on (landscape) architects
    and urban planners using a narrative approach in analysis and design today.
    Which techniques are used, and how are they brought into practice? Second,
    we invite theoretical and/or historical reflections, taking the exploration
    of the experiential and narrative aspects of urban landscape in history as
    a starting point for a critical reflection. Who constructs the narrative,
    how and why? How does the narrative relate to power relations? Can
    narrativity provide a way of conceiving of subject-object, reader-writer as
    active relationships instead of as opposites?

    The aim of this issue of *OASE* is to understand the historical foundations
    of the concept of narrativity in reading and designing the (urban)
    landscape, and to uncover the relevance of narrativity for today?s practice.

    Please send your abstract of max. 500 words before *July 15, 2016 *to

    Notification of results: 25 July 2016
    Selected papers (max. 3000 words) deadline: 15 September 2016
    Release of the issue: May 2017
  • CFP: Challenges in the Historiography of Architectural Knowledge (Brussels, 9-10 Feb 17)

    Brussels | Dates: 08 – 15 Jun, 2016
    In recent international literature addressing the history of 20th century architectural theory, the year 1968 is indicated as a decisive moment, giving rise to a ‘new’ architectural theory. From that moment onwards, emphasis was no longer placed on the aesthetics of architecture, but on its critical potential. Yet, according to some scholars, this intensification of theory was short-lived. A presence of coexisting and even contradictory paradigms derived from very different epistemic domains (anthropology, philosophy, linguistics, social sciences, etc.) led to a setback of theory, resulting in an end-of-theory atmosphere in the 1990s.

    It is not a coincidence that the so called death of architectural theory concurred with the upsurge of anthologies on architectural theory that collect and classify referential texts. Instead of burying theory, these anthologies had an additional effect, namely to institutionalise it. In other words, they offered both closure to a past period and also defined the locus of a next period of theorisation, invoking a ‘historical turn’. At the same time architectural discourses, and especially architectural historiography, were engaging with new theoretical fields such as gender studies or postcolonial studies, giving rise to a continued production of theoretically informed books and articles.

    The goal of this conference is to discuss the methodological challenges that come along with this historical gaze towards theory, by focusing on the concrete processes in which knowledge is involved. By screening the unspoken rules of engagement that the accounts of post-war architectural theory have agreed to and distributed, we want to point at dominant assumptions, biases and absences. While anthologies inevitably narrate history with rough meshes, we believe it is time to search for those versions of theory formation that have slipped through these nets of historiography, in order to question the nature of theory and the challenges it poses to historians. How do you do historical research on something as intangible as theory, or in a broadened sense, the knowledge of architecture?

    We are in other words not only interested in what theorists and practicing architects were arguing for, but also how, why and where they did so. Looking at case-studies, the singular and ‘minor’ expressions of theory, the local discourses and the different formative contexts (e.g. education, publication culture) can be subjected to careful scrutiny. We particularly welcome case-studies from the 1960s to the 1990s that deal with one or more topics formulated in the full CFP:


    1. Theory’s Geography
    2. The Expressions of Knowledge
    3. The Agendas of Theory


    1. Minor Historiography
    2. The Making of the Architectural Theorist


    1. Problems of Periodization
    2. Architectural Theory and Postmodernity
    3. Problems of Historical Distance

    This two-day conference aims to bring together both young and established scholars from every discipline that is able to engage with the topics outlined above. Confirmed keynotes are Joan Ockman, Ákos Moravánszky and Łukasz Stanek.

    We’re happy to receive abstracts of up to 300 words until the 15th of June, 2016. Abstracts will be anonymously reviewed by an international scientific committee. Authors will be notified of acceptance on the 15th of July 2016. In order to provide a solid conference, we expect full papers one month in advance of the conference, i.e. 1st of January, 2017.

    Please note that there will be a conference fee for participants of maximum €150 and a reduced price for students.
  • CFP: Preserving Transcultural Heritage (Lisbon, 5-8 Jul 17)

    Lisbon | Dates: 08 Jun – 31 Aug, 2016
    School of Arts and Humanities of the University of Lisbon, Portugal
    Deadline: Aug 31, 2016

    International Congress

    Preserving transcultural Heritage: Your Way or my Way?

    Call for Papers and Posters

    The ARTIS – Institute of History of Art, School of Arts and Humanities of the University of Lisbon and the ICOMOS Portugal are pleased to invite all the researchers, specialists and other stakeholders involved in the process of safeguarding of architectural heritage created in the meeting of cultures, to participate in the International Congress Preserving transcultural heritage: your way or my way?, which will take place in Lisbon, between 05 and 08 July 2017.

    Paper and poster proposals are welcome until 31 August 2016. Please submit your paper or poster by sending the proposal to the email (see the submission guidelines below).
    The proposals will be selected by the session organisers and the Scientific Committee on the basis of the following criteria: relevance, innovation, scientific quality and theme of the session. On 15 September proposers will be notified regarding acceptance of their paper or poster and will receive further instructions.

    The organisation encourages multidisciplinary and international research on the safeguarding of transcultural heritage (architecture, urbanism, archaeology, landscapes and decorative arts in built heritage).


    Session 1: Heritage values and management of African historic cities and sites with European influences

    Session 2: Transcultural heritage, musealisation and memory: 
    preservation of the Indigenous minorities’ heritage in Americas and in the Pacific region formerly under Western rule

    Session 3: Contextualizing the (un)wanted: tourism and management of the architecture of totalitarian regimes in Europe

    Session 4: Globalisation as generator of new transcultural heritages: 
    preserving migrants’ architectural heritage

    Session 5: Greeks, Romans and Byzantines in the Mediterranean region and Near East: guarding transcultural remains containing ancient classical influences

    Session 6: Preserving shared heritage along the Silk Road, a major creator of cultural encounters

    Session 7: Memories to remember and (not) forget: slaves’ heritage outside their homelands

    Session 8: The “Indian melting pot” for religions and cultures: 
    challenges concerning transcultural heritage preservation

    Session 9: West versus East: differences and difficulties to the conservation of their shared heritage (European colonies in Far East / “Asiantowns” in the West)

    Session 10: The discovery of ancient cultures: safeguarding of native architectural heritage in European colonies

    Session 11: Religious, political and ideological fanaticisms as destroyers of “different” heritages throughout History

    Session 12: European heritage as Imperialist statements in colonies: 
    (un)desirable memories whish must be protected or to be forgotten?

    Session 13: Between Far East and the Indian Sea: Indochinese and Insulindian cultures (influences, fusions and heritage safeguarding)

    Session 14: The Ottoman Empire in the crossroad between Europe, Asia and Africa: fusion of cultures and heritages to preserve

    Session 15: Questions, controversies, idiosyncrasies and case studies on authenticity between different cultures, when focusing the safeguarding of transcultural architectural heritage

    Session 16: Should be followed or ignored? Reception of European heritage theories within non-Western cultures

    Session 17: Safeguarding of architectural heritage belonging to ethnic and religious minorities inside countries with dominant cultures

    Session 18: Other relevant themes


    Download the submission template (available at, and fill it with the following data:

    Title of the paper, with 15 words maximum; Abstract with 250 words maximum; Three to five keywords; Personal data (name, professional affiliation, mail and email addresses, and telephone contact of the authors).

    The acceptance notification for submitted papers and posters will be known by 15 September 2016.

    After being accepted, preliminary versions of paper texts and poster drafts should be submitted until 30 November 2016, for peer-review.

    For further questions, please contact the organisation.

    Contact Info:
    Inês Cristóvão
    Executive Committee
  • CFP: Islamic Art & Architecture (Zurich, Schaffhausen, 4-6 May 17)

    Zurich | Dates: 08 Jun – 25 Sep, 2016
    Zurich and Schaffhausen, May 4 - 06, 2017
    Deadline: Sep 25, 2016

    A l’Orientale - Collecting, Displaying and Appropriating Islamic Art and Architecture in the 19th and early 20th centuries

    International conference

    Organizers: Prof. Dr. Francine Giese (University of Zurich), Prof. Dr. Mercedes Volait (CNRS/InVisu), Dr. Ariane Varela Braga (University of Zurich)

    Cooperations: Museum Rietberg Zürich, Moser Familienmuseum Charlottenfels der Heinrich und Henri Moser Stiftung in Neuhausen bei Schaffhausen

    Keynotes Speakers: 
    Kjeld v. Folsach (David’s Collection Kopenhagen), Yannick Lintz (Musée du Louvre), Tim Stanley (V&A London), Stefan Weber (Museum für Islamische Kunst Berlin)

    - Version française ci-dessous -

    The Swiss Orient traveler Henri Moser Charlottenfels (1844-1923) is considered one of the pioneering 19th-century amateurs of Islamic Art, because of his activity as collector and exhibitor. His continuously growing collection had made Moser famous from 1876 onwards through much-noticed traveling exhibitions in and outside of Switzerland. His collection was later displayed permanently at the widely known private museum he established in 1906 at the Charlottenfels Castle near Schaffhausen. Through his 1914 donation to the Bern Historical Museum, Moser assured that after his disappearance the Orientalische Sammlung Henri Moser Charlottenfels (Oriental collection Henri Moser
    Charlottenfels) of over 4000 objects would remain available to the public in an exhibition hall specially built for that purpose.

    The conference wants to present Henri Moser and his collection in an international context. Does Moser’s activity of collecting and exhibiting Islamic art reflect a widespread tendency of his period? How have strategies of presentation, re-contextualisation and didactics changed since the 19th century? To what extent have private collections influenced the making of Islamic departments in national museums? And which role did private collectors such as Moser play in transmitting and appropriating Islamic art and architecture in the West during the 19th and early 20th century?

    The conference will open on Thursday, 4th May 2017, with a first section on „Displaying Islamic Art“ at the Museum Rietberg, with a roundtable discussion with representatives of the most important European collections of Islamic Art. The second day will take place at the University of Zurich and will be dedicated to the section „Appropriating Islamic Art and Architecture“. Finally, a third section regarding „Collecting Islamic Art“, taking place on Saturday, 6th May 2017, will bring the topic to a close in Charlottenfels Castle.

    We invite you to propose papers on the following topics: 
    - Moser and his collection
    - Islamic art in European private collections in the 19th and early 20th centuries
    - Mapping and classifying Islamic art through collections
    - From Wunderkammer to modern exhibition - ways of presenting Islamic art
    - Transmission of Islamic aesthetics through art exhibitions
    - Strategies of appropriation in the West
    - Neo-Islamic declinations of Islamic art and architecture

    Each presentation will be of 20 minutes, and may be given in French, English or German. Please submit a proposal of maximum 300 words and a brief curriculum vitae by the 25th of September 2016 to the following e-mail address:
  • Architecture, Media, Politics, Society

    London | Dates: 08 Jun – 01 Jul, 2016
    Architecture_MPS is calling for articles for forthcoming editions in 2016 and 2017. Journal themes revolve around the relationship of architecture and the built environment with questions of the politics, media and society. Multidisciplinary papers are welcomed as particularly pertinent to the journal’s diverse perspective. Areas of interest include (but are not restricted to): architecture, urbanism, regeneration, new technologies, heritage, cultural and political identity, socio-cultural symbolism, mediated representation and environments. Historical papers should seek to draw contemporary issues into their debates. The journal publishes two volumes per year. Each volume is contains four issues. Individual issues are published on the first day of each month during the publication cycle. Articles submitted for peer review should be between 5,000 – 7,000 words in length. You should also submit a full CV and a 300 word abstract. For complete submission instructions visit: Abstracts and works in progress can be submitted for preliminary consideration.
  • Call for Participants: American Library Association Program on Art & Architecture in Literature

    Dates: 07 Jun – 01 Jul, 2016
    Are you a Chicago-area art historian? Have you researched or written about Chicago’s rich art and architectural history? Have you explored the city’s many museum and academic art collections, particularly special or rare books or artists books? The ACRL Arts Section and Literatures in English Section are co-sponsoring a program for the 2017 American Library Association annual conference in Chicago, IL, to be held June 22-27, 2017. We are looking for speakers interested in presenting on anything within the realm of Chicago-based art and architecture in literature. You will be given between 20 minutes to a half-hour to present followed by engaging discussion with audience members (academic, public, and special collections librarians). There is funding available for non-librarian speaker expenses, including hotel and transportation. Please submit your ideas to us by Friday, July 1. We will notify you of acceptance no later than Friday, July 15. Conference program proposals are due September 1, 2016. Thank you for your consideration, ACRL Arts Section 2017 Conference Program Planning Committee Shannon Marie Robinson, Kimberly Lesley, Mallory Sajewski,
  • Books and the City Symposium

    Maastricht | Dates: 22 – 24 Jun, 2016
    Maastricht University and Van Eyck Academie, Netherlands, June 22 - 24,

    Books and the City Symposium

    Books and the City is an interdisciplinary conference that investigates the relationships between books and urban city spaces.  Cities are complex networks that exist in a constant state of transformation. More than just the built environment of the metropolis, cities are constituted through a range of cultural, geographic, social, political and economic dynamics. Drawing together a range of interdisciplinary perspectives, the symposium seeks to investigate the ways in which these aspects of the city have been articulated by books: their production, distribution and collection.

    Keynote speaker: Odile Heynders, Professor of Comparative Literature, Tilburg University, Netherlands.
    The full conference programme can be found at

    To register please follow this link:

    Books and the City is a collaboration between Maastricht University, NL, the Van Eyck Academie, NL, and the University of Canterbury, NZ.
  • Where is the History of Design Going?

    Paris | Dates: 23 Jun, 2016
    June, 23 2016
    Salle Jullian room
    Institut national d’histoire de l’art, Galerie Colbert 2, rue Vivienne 75002 Paris, France

    Organized by Stéphane LAURENT
    University Pantheon-Sorbonne
    The history of design gradually established as a specific domain of research with dedicated publications since the late 1970s. It differentiated from the history of decorative arts and architecture and anchored to the field of the history of art. At that time, design as practice began to span after developing since the beginning of the industrial revolution in England in the Eighteenth century. Thus, the affirmation of the design as a creative industry and the sufficient consistency of its own history made possible to make observations and analysis.

    The first publications remained in the wake of engaged writers such as Nikolaus Pevsner and Siegfried Giedon, who struggled to advocate modernity by using a methodology rather controversial than scientific. 
    The first graduate courses in design history were often delivered by art historians in art history programs or in art schools. The approach was rationally based on “heroes” actors and “masterpieces” objects, while taking into account other factors including technical, artistic, social and economical aspects. The discipline strengthened until being able to establish, develop and support academic journals, programs and societies dealing with the history of design. The richness of the analysis, and the will to open the history of design to a cross-cultural vision brought up a new thinking. The change happened at a time when new methodologies like gender studies, post-colonialism, material history significantly modified the interpretation of art and contemporary art. Hence, part of the history of design rooted into a history of material culture.

    In France, where the history of design came later and in a more limited way, the influence of philosophy or "French theory" remained dominant after the outstanding works of Roland Barthes and Jean Baudrillard and the intellectual debates from the Sixties to the Eighties about the relations of sociology, anthropology, semiotics, aesthetics or psychoanalysis to art. However, a history of design based on sources such as archives is also active and aims to a better acknowledgment. It leads to a comprehensive and innovative approach of a rich heritage of design, which remains widely unknown and requires a close connection with museums, sources and collections.

    The purpose of the symposium is to demonstrate the relevance of the history of design as a research field and the accuracy of its various readings. Experts will share their experience and vision. Benefiting from the advanced research in the UK and from diverse contributions, the conference will also shed light on a nascent and scattered but active and rich discipline in France.

    Mr. Alain Barbaret, Direcrtor of the Mobilier National et des manufactures des Gobelins, de Beauvais et de la Savonnerie.
    Dr. Hab. Françoise Ducros, curator at the Mobilier national.
    Dr. Cloé Fontaine-Pitiot, curator at the Musée national d’art moderne-Centre de création industrielle, Centre Georges Pompidou.
    Dr. Hab. Stéphane Laurent, University Pantheon-Sorbonne.
    Dr. Asdis Olafsdottir, Administrator of the Maison Louis Carré and Editor of ArtNord journal.
    Dr. Penny Sparke, professor and pro vice-chancellor, Kingston University, UK.
    Dr. Jonathan Woodham, professor, University of Brighton, UK.


    9h00 Welcome of participants.

    9h30 Introduction by Hervé Barbaret.

    10h Stéphane Laurent, L’Histoire du design en France, états des lieux.

    10h30 Penny Sparke, The History of the History of Design: A Personal Perspective.

    11h Break.

    11h30 Asdis Olafsdottir, La recherche sur le design finlandais en
    France: Alvar Aalto, d'Artek à la maison Louis Carré.

    12h Discussions.

    12h30 Lunch break.

    14h Jonathan Woodham, Globalizing Design History in the 21st Century: 
    remapping and repositioning design history and culture.

    14h30 Françoise Ducros, L’Archipel créatif du Mobilier national et des manufactures nationales.

    15h Cloé Pitiot, Conserver, exposer, diffuser le design.

    15h30 Discussions & Conclusions.

    16h45 Visit of the design collections and resources of the Musée National d’art moderne-Centre de création industrielle, Centre Georges Pompidou.

    With the support of the Society of Friends of the Musée national d’art moderne Centre Pompidou and the Design History Society.
  • CFP: Minimalism: Location Aspect Moment (Southampton, 14-15 Oct 16)

    Southampton | Dates: 06 – 29 Jun, 2016
    University of Southampton/Winchester School of Art, October 14 - 15,
    Deadline: Jun 29, 2016

    Minimalism: Location Aspect Moment

    14-15 October 2016

    University of Southampton/Winchester School of Art

    Confirmed Keynote Addresses:
    Dr Renate Wiehager (Head of the Daimler Art Collection,
    Professor Keith Potter (Reader in Music, Goldsmiths, University of
    Professor Redell Olsen (Professor of Poetics, Royal Holloway, University of London) (Keynote Performance Lecture)

    When the object comes to itself, abstracting can end, and so can expressiveness. This is one of the thoughts underpinning minimalism in art, but far from the only one, as minimalist sculpture, in particular, began reconfiguring the gallery space, or even the space in which art could happen. The minimalist impulse is to drive creativity into forms so simple, or more accurately, so formal they had to reflect upon themselves while reflecting the viewer in a specular frenzy under cover of nothing happening. The paradoxes of minimalism suggest an equal possibility of de-formation, of formless process. For some time, critics were not happy, understandably, given the rejection of reflection that the radically simplified objects presented. But a consensus has emerged, one that focuses on, and repetitively/compulsively reproduces, a unifying vision of American key artists (Judd, Morris, Flavin, Andre…) of the 1960s. Likewise, a seamless tie binds this art with American minimalist music (Glass, Reich, Adams); but the reality of artistic production across media and forms was far more varied and geographically widespread.

    One of the purposes of this Minimalism: Location Aspect Moment is to expand our conception of what minimalism was, where it happened, who was making it, why, and how it extends through time until now. It is clear that the minimalist impulse happened in cross-national encounters (such as the 1967 show Serielle Formationen in Frankfurt) and that Europe was fertile ground for explorations in serial works, in playing with the prospect of singular forms and systematic thinking. Admitting the significance of the naming of the idea of minimalism in the 1960s, we want to look back to earlier versions of the reductionist, repetitive, singularising or multiplying intents of core minimalist endeavour. In short, we wish to see what an expanded field of minimalism looks like, sounds like.

    We want to hear about literature (& writing ABC), dance, building, interior design (& Good Design), gardens (& total fields), science, cybernetics, philosophy, painting, politics, installation, video, cinema, bodily exercise. We want to think about minimalism’s relation to modernism, and how exactly post-minimalism works. We want to think about the softening of minimalism in the 1980s, a twisting of modernist ideals into décor-discipline. We want to recognise the broad scope of projects of reduction, of elimination of the conformities of difference in favour of radical recurrence and stasis.

    Contributions are sought from all disciplines; collaborative, creative and cross-media proposals are welcome. Conceived and curated by Dr Sarah Hayden (English, Southampton), Professor Paul Hegarty (University College Cork) with Professor Ryan Bishop (Winchester School of Art, University of Southampton).

    Please send an abstract of <300 words to by June 29th 2016.
  • Ornament by Design

    London | Dates: 08 – 13 Jun, 2016
    Ornament by Design examines the interplay between ornament and architecture in drawing.   It traces the manifold ways in which the subtle, seductive lines of ornament can transform the surface of buildings and things into objects of desire.  The display presents a range of seventeenth- and eighteenth-century French drawings: architectural elevations and sections, designs for ceilings and garden ornaments, capriccios and studies for specific motifs such ornamental brackets and frames.

    In the on-line catalogue below you will find additional information and extended discussion of the works exhibited.  Also included, is a brief anthology of eighteenth-century perspectives on ornament and a corresponding selection of voices provided in podcasts by scholars, curators and conservators today.  The section terms will introduce you to the vocabulary of ornament and sources will direct you to historical and critical writing on ornament and design to develop your interest.  In games you will discover resources to make your own architectural and ornament drawings.
  • CFP: Universities Art Association of Canada Conference (Montreal, 27-30 Oct 16)

    Montreal | Dates: 03 – 24 Jun, 2016
    Proposals for papers shall not exceed 150 words and are to be submitted to the individual Session Conveners for consideration (please see below under “Conference Regulations” for further guidelines about proposals). 

    Most sessions are composed of three or four 20-minute papers. This leaves time in the 90-minute slot for formal responses or questions from the audience. Each session must have one or a maximum of two Chair(s) who are not also speaking in the session.
    Therefore, if present Session Conveners (to whom prospective participants should submit their abstracts for consideration) wish to give a paper in their session, they must find a Chair for that session. Other formats, such as roundtable discussions, must also
    have a Chair who stands outside the discussion and moderates it.

    In order to permit the widest possible variety of sessions, double sessions are not usually permitted. Decisions to permit double sessions lie with the Session Planning Committee for the conference, who will inform chairs/conveners who petition for such sessions whether or not this will be possible within the program structure.
  • CFP: Urban Studies beyond the Aestheticized Object (Chicago, 30 Mar-1 Apr 2017)

    Chicago | Dates: 01 – 04 Jun, 2016
    Sponsored by the European Architectural History Network

    Contributor: Elizabeth Merrill

    Traditionally, urban historians relied on systems and patterns to analyze cities as aesthetic constructions, parsing them in terms of morphologies and typologies. Eventually, however, cities began to be considered as embodiments and instruments of culture that communicated individual and collective identities and relationships. More recently, urban geographers, anthropologists, and theorists have modeled approaches that consider spatialized experience through the senses and body, and some envision the built realm as “more than a backdrop for action, becoming the action itself” (Bernard Tschumi, Disjunction and Architecture).

    We invite papers that propose new approaches to and readings of the experiential and sensory in respect to the early modern city. How was the city’s physical fabric experienced and perceived by locals as well as foreign travellers?  Which rhythms (e.g., day/night, canonical
    hours) defined movements of bodies through and individual experiences of the city?  How did the sensory, (e.g., concepts of hygiene and public health), guide city planning and construction? The presence of “others” in the city, whether animals, foreigners, the sick, or minority populations, might also be considered. Speakers are welcome to discuss new methodologies or techniques for studying urban history (e.g., digital mapping and visualization).

    Proposals should be submitted to Saundra Weddle ( and Elizabeth Merrill ( by June 4, 2016 with the presenter’s full name; academic affiliation/title; e-mail address; paper title (15-word maximum); abstract (150-word maximum); and a brief curriculum vitae (300-word maximum; prose bios will not be accepted).
  • CFP: The Historiography of Early Modern Architecture (Chicago, 30 Mar-1 Apr 2017)

    Chicago | Dates: 01 – 04 Jun, 2016
    Renaissance Society of America (RSA) 2017 Conference, Chicago, The Palmer House Hilton

    Session Sponsored by the European Architectural History Network
    Contributor: Elizabeth Merrill

    Since the Renaissance itself, the history of early-modern architecture has been a multifaceted discipline. Antonio Manetti established the biographic format in his Life of Brunelleschi, an approach that was later developed in Vasari’s Lives.  In the same period, individuals like Giuliano da Sangallo and Francesco di Giorgio sought to elucidate architectural history through their discovery, or one might say reconstruction, of Roman antiquities. Similarly, the overwhelming interest in Vitruvius not only generated new histories of architecture, but also drove architectural practices and colored the way in which architects were perceived. The modes of scholarly inquiry initiated in the Renaissance have had long afterlives. The great interest in architectural proportions, based both on ancient models and long practiced building traditions, preoccupied theorists like Serlio and Palladio, and centuries later, was resumed by Erwin Panofsky, Rudolf Wittkower and Branko Mitrovic, among others. Correspondingly, the concern with prolonged building processes and the historical valuation of the resultant architecture has captured significant attention. The problems involved in “building-in-time” were outlined in Alberti’s theory of architecture, commented upon by Michelangelo, and in recent decades have been explored by Howard Burns and Marvin Trachtenberg.

    This session invites papers that consider the historiography of Renaissance architecture – that is, the history of scholarly understandings of early-modern European architecture (c.1400 – 1700). 
    What are the sources, techniques, and theoretical approaches that have directed the history of Renaissance architecture and what implications do they carry? How do regional or national traditions of early-modern architectural history vary? On what are these traditions based and what are their biases? Papers might also discuss architect-historians like Inigo Jones, Christopher Wren, John Webb, Jacques-François Blondel, and Tommaso Temanza, and how they translated the history of Renaissance architecture in practice. In a similar vein, papers might reflect on how Renaissance architectural history been taught. What is the training of the architectural historian and how does this impact the discipline? 
    How have developments in digital technology redirected early-modern architectural history? And what might future developments bring?

    Paper proposals that stem from original research should be submitted as a Word document or PDF to Saundra Weddle ( and Elizabeth Merrill ( by June 4, 2016. 
    Please include the following information: presenter’s full name; academic affiliation and title; e-mail address; paper title (15-word maximum); paper abstract (150-word maximum); and a short bio (300-word maximum). For CV guidelines and models see:
  • City of the Soul: Rome and the Romantics

    New York | Dates: 17 Jun – 11 Sep, 2016
    Rome exists not only as an intensely physical place, but also as a romantic idea onto which artists, poets, and writers project their own imaginations and longings. City of the Soul examines the evolving image of Rome in art and literature with a display of books, manuscripts, prints, photographs, and drawings.

    This groundbreaking exhibition considers the ever-evolving identities of Rome during a pivotal period in the city’s history, 1770–1870, when it was transformed from a papal state to the capital of a unified, modern nation. Venerable monuments were demolished to make way for government ministries and arteries of commerce. Building projects and improvements in archaeological techniques revealed long forgotten remnants of the ancient metropolis. A tourist’s itinerary could include magnificent ruins, ecclesiastical edifices, scenic vistas, picturesque locales, fountains, gardens, and side trips to the surrounding countryside.

    The exhibition juxtaposes a century of artistic impressions of Rome through a superb selection of prints and drawings by recognized masters such as Giovanni Battista Piranesi (1720–1778), J. M. W. Turner (1775–1851), and Edward Lear (1812–1888) along with lesser known artists whose work deserves greater attention.

    The invention of photography also influenced the image of the city. Photographers consciously played on the compositions of Piranesi and earlier masters of the veduta tradition, while at the same time exploiting the expressive potential of this new medium. As the meditative, measured pace of the Grand Tour gave way to the demands of organized tourism, they supplied their new clientele with nostalgia as well as novelty in their views of the Eternal City.
  • Opening as Editor of the EAHN Journal Architectural Histories

    Dates: 01 Jun – 01 Oct, 2016
    Applications open for Editor-in-Chief and Editorial Assistant, Architectural Histories. The online open access journal of the EAHN

    Architectural Histories is the international, blind peer-reviewed, open access scholarly journal of the European Architectural History Network that creates a space where historically grounded research into all aspects of architecture and the built environment can be made public, consulted, and discussed. The journal is open to historical, historiographical, theoretical, and critical contributions that engage with architecture and the built environment from a historical perspective.

    Since the publication of the first article on 30 January 2013, Architectural Histories has published 81 articles (research articles, position papers, editorials, interviews and reviews). These publications were gathered in four open issues and three special collections. Since its start in 2013 the journal has established a growing and balanced readership. In March 2016 alone, the journal could note 7282 page views from 111 different countries worldwide.

    The journal is now seeking to appoint a new editor-in-chief and editorial assistant from 1 June 2017 for a four-year term. The new appointees will start working with the current team from 1 January 2017 and gradually take over their duties.

    Tasks and duties
    The editor-in-chief is responsible for all aspects of the journal. The editorial assistant supports the editor in these tasks, according to their mutual arrangement.
    The editor is responsible for the profile and identity of the journal, and safeguards the quality, relevance and scholarly rigor of the journal's content. Architectural Histories is edited by an international editorial board over which the editor presides.

    The editor apportions editorial duties to board-members and follows up on their execution. S/he is primary contact person between authors, reviewers and the journal, and makes the final decisions regarding articles in all stages of submission, review, editing and production, always in close concert with the editorial board.
    The editor steers the editorial board in all its tasks: editorial duties, prospection for content, setting up special collections, processing articles, and so forth.

    The editor manages the coordination between the different parties involved in the production of the journal: besides the authors and peer reviewers; the publisher, Ubiquity Press; the copy-editor; and the proofreader. The editor is the main contact between the journal and the publisher regarding all aspects of their collaboration, including process management, contract negotiations and payments.

    The editor manages the finances of the journal, and actively seeks to broaden and sustain the financial basis for the journal by reaching out to the appropriate organizations and institutions.

    S/he is aware of the principles of open access publishing and participates in the debates surrounding it.

    The editor is the main contact between the journal and its parent organization, the European Architectural History Network. As such, the editor sits ex officio on the EAHN board.

    The editor chairs the editorial board meeting during the annual EAHN business meetings and at the biannual EAHN-conferences.

    The position of editor or editorial assistant is not remunerated and expenses are not covered. The editor's average workload is 4 to 8 hours per week;  the average workload of the assistant is 4 hours per week;  both are subject to fluctuation.


    The editor-in-chief should have a Ph.D. in architectural history (whether from an art history department or a school of architecture).  The candidate should be an established scholar who is able to bring a broad personal network of international academic contacts to the job. Her/his own work should embody the highest standards of scholarship. The candidate should have a broad understanding of architectural history across periods and geographies, and be open to academic work from a variety of scholarly, cultural and methodological backgrounds. The candidate should have a keen understanding of the workings of scientific institutions and funding agencies in and outside of Europe.

    The candidate should have an excellent command of English, and master several other European languages. Preferably, the candidate has editorial experience.  The candidate must be dedicated to working within the constraints of a periodical: advanced planning, deadlines, and flexible solutions to crises.

    Since the editor supervises and coordinates all aspects of the journal, skills in organization, negotiation and people management, a well-developed sense of responsibility, and resistance to stress, are absolutely essential.

    The editorial assistant is a junior scholar (graduate or post-doc), who supports the editor. The assistant should have the appropriate scholarly, linguistic and organizational skills. The editor and assistant work closely together, and convene on a bi-weekly basis.

    Please submit a cover letter and CV to the Editorial Search Committee by 1 October 2016 in care of Nancy Stieber at this address:
  • Reading the Walls: From Tombstones to Public Screens

    Glasgow | Dates: 01 – 06 Jun, 2016
    From dedicatory inscriptions on Greek architectural monuments to the three-dimensional lettering affixed to the fac?ade of the Bauhaus, the neon signs of Las Vegas, and the unofficial marks left by cans of spray paint, words on buildings can both overcome and augment the limits of architecture?s ability to communicate to a broad public. Scholars working in a variety of contexts have begun to explore the ways in which text informs historical interpretations and understanding of buildings and urban spaces but typically position their analysis within the confines of relatively narrow historical and disciplinary boundaries. This session seeks to build on that body of work by exploring the relationship between architecture and its inscriptions in a variety of political, geographical, and historical contexts.

    We especially welcome papers that explore the following questions: How does epigraphy influence a building?s form and composition? What is its role within discourses of power, democratic, or totalitarian? Does it simply ?fill the gap? between intention and reception in architecture?s quest to convey meaning? What can faded, deleted, re-contextualised or overwritten inscriptions tell us of a building?s pasts, its successive uses and shifting meanings? How can it control memory as a self- conscious effort to harness the past? How did the interplay of text/abstraction vs. representation/ornament shape avant-garde modernist discourse and practice? How is its use and form related to larger cultural shifts? Can branding, advertising and public screens be considered contemporary forms of this ancient practice? And if so, how do they operate?

    Session Chairs: Flavia Marcello, Swinburne University of Technology, and Lucy Maulsby, Northeastern University

    Deadline: June 6, 2016 at 5 pm CDT
  • Best of the South: Preserving Southern Architecture Award

    New Orleans | Dates: 31 May – 01 Jul, 2016
    Call for Nominations 2016 “Best of the South: Preserving Southern Architecture” Award The Southeast Chapter of the Society of Architectural Historians (SESAH) seeks nominations for the “Best of the South: Preserving Southern Architecture” Award. This annual award honors a project that preserves, rehabilitates, or restores a historic property – including a building, a structure, or a complex of buildings and/or structures – in an outstanding manner and that demonstrates excellence in research, documentation, design, and execution. Projects with a public interpretation component are encouraged, but not required. Projects in the twelve-state SESAH region – Alabama, Arkansas, Florida, Georgia, Kentucky, Louisiana, Mississippi, North Carolina, South Carolina, Tennessee, Texas, and Virginia – that were completed in 2014 or 2015 are eligible. Criteria for consideration: Quality of the project documentation, research, and/or design plan; Importance of the property type within its particular context (national, regional, state, local); Quality of execution; Anticipated benefits; and Degree to which the project saved a historic property from likely demolition. Nominations should consist of no more than two pages of project description and be accompanied by illustrations and any other supporting material, including a project budget and timeline. A cover letter should identify the owner of the property, the historic and current use of the property, and the names and contact information of all the major participants of the project. Email the nomination as a single PDF or as a link to a single PDF posted on Google Drive/Dropbox to the 2016 “Best of the South” award committee chairperson, Susan W. Knowles at Deadline: July 1, 2016. The 2016 “Best of the South” Award winner will be announced at the 2016 SESAH Annual Meeting held in New Orleans, Louisiana, from September 28-October 1. For more information about the “Best of the South: Preserving Southern Architecture” Award and SESAH, visit

SAH thanks The Richard H. Driehaus Foundation Fund at The Chicago Community Foundation for its operating support.
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