Teddy Cruz is a Rome Prize-winning architect who uses the Tijuana-San Diego border as a laboratory to re-think global dynamics, including issues such as hospitality, immigration, and the expanded gap between wealth and poverty.
Architectural historian Dianne Harris (Dean of the College of Humanities, University of Utah) will talk with Teddy Cruz about how he uses his architectural work to confront social issues.
More on Teddy Cruz
Teddy Cruz received the prestigious Rome Prize in Architecture in 1991 and in 1997 received a Masters in Design Studies from Harvard University’s Graduate School of Design. In 2005, he was the first recipient of the James Stirling Memorial Lectures on the City Prize, by the Canadian Centre for Architecture and the London School of Economics.
In 2008, he was selected to represent the United States in the Venice Architecture Biennial, and was part of the important exhibition Small Scale, Big Change: New Architectures of Social Engagement at the Museum of Modern Art in New York in 2010.
In 2011, he was a recipient of the Ford Foundation Visionaries Award, the Global Award for Sustainable Architecture by French Cité de l'Architecture and was named one of the 50 Most Influential Designers in America by Fast Company Magazine.
Teddy Cruz is currently a professor in public culture and urbanism in the Visual Arts Department at the University of California, San Diego, and the co-founder of the Center for Urban Ecologies.
“Legitimating Tradition” is the theme of the 15th conference of the International Association for the Study of Traditional Environments (IASTE) to be held in Kuwait City, Kuwait from December 17-20, 2016. Scholars from relevant disciplines are invited to submit a 500-word abstract and short biography by February 15, 2016.
Postmodern architecture presents a new frontier in landmark preservation. While the preservation of postwar modern architecture is already well-established, postmodern buildings, landscapes, and interiors have only recently become eligible for landmarks protection in certain cities nationwide. Using the postmodern architecture of Chicago as a case study, this panel highlights and celebrates some of the notable projects from this period. It also explores the evolving concepts and issues about the presentation and interpretation of history and context in urban architecture. This event is a part of an ongoing program on postmodern design preservation by Metropolis magazine.
Moderated by Paul Makovsky, Editorial & Brand Director, Metropolis
Stanley Tigerman, architect, educator, and partner of Tigerman/McCurry Architects
Cynthia Weese, architect and founding partner of Weese Langley Weese
Edward Keegan, architect and writer of Chicago's cityscape
Bonnie McDonald, president of Landmark Illinois
Stewart Hicks, architect and partner of Design With Company
This Chicago Architectural Biennial program is presented by Metropolis magazine in collaboration with AIA Chicago.
Applications for New Professorships in Buddhist Studies are now available online at ofa.acls.org.
New in 2015-16, these multi-year grants will support teaching positions at colleges and universities worldwide seeking to establish or expand their programs in Buddhist studies.
The deadline for this competition is January 20, 2016. More information is available on the ACLS website at www.acls.org/programs/buddhist-studies/#np.
The Robert H. N. Ho Family Foundation Program in Buddhist Studies has just launched its Facebook page at www.facebook.com/buddhiststudiesprogram. Visit the page to learn about all our programs and fellows, and to interact with our network of scholars.
In conjunction with its spring exhibition of the work of Charles Simonds, the Institute of Fine Arts at New York University announces a call for papers for a symposium to take place on Saturday, April 2, 2016. "Dwellings: Charles Simonds and 1970s New York" will use Simonds’s work and its original context in downtown New York as a point of departure for addressing alternate histories and methodologies in the study of the art of the recent past. As the 1970s crystallizes into a historical period, certain episodes are privileged while others fail to be written into art history. This symposium will reinstate a key figure as it seeks to offer new narratives in the history of art.
Proposals are sought from academics, professionals, and students alike.
Interdisciplinary papers and those from related fields (i.e.
literature, anthropology, and history) are very welcome.Topics may relate broadly to a variety of aspects of Simonds’s work from the 1970s to today, as well as the reception and study of it, and may include:
- The work of Charles Simonds and his peers
- Historicization and canonization in art history
- Exhibition history and art historiography
- Socially engaged practice
- The legacy of Minimalism and Post-Minimalism
- Representation and narrative
- Craft and the artist’s hand
- Architecture and urbanism
- Anthropology as artist’s material
- Feminism and gender
- Land art, geology, and topography
- Notions of time
- Myth and myth-making, religion, and sacred spaces.
Applicants are asked to submit a CV and an abstract of 500 words to firstname.lastname@example.org. Submissions are due December 15, 2015.
Over the last one hundred years there has grown up a belief among many architects that the modern era requires a new architectural language. Proponents of this point of view have written architectural histories that would have us believe that the mainstream of modernism moves from one avant garde, or radical new movement, to another, for example from the so-called Chicago School and Frank Lloyd Wright to Le Corbusier, Gropius and Mies. This idea is no more logical than believing that to write modern fiction English is inadequate and some new language is necessary. This panel will examine a number of architects who believed that they could create dramatic new forms within the classical language.
Moderated by Robert Bruegmann
Jane Lepauw holds a B.A. from Hobart and William Smith Colleges, studied at the Sorbonne, and co-founded with Didier Lepauw, the Benjamin Marshall Society in 2002. Her father an architect, her mother an interior designer and realtor, her interest in architecture became a passion while living in Paris for 22 years where she landed as a reporter sent by the CBS Television affiliate in Miami. After becoming involved with the Japanese Embassy in Paris under the auspices of His Honor, Hisashi Owada, presently judge on the International Court of the Hague, she began giving lectures on Japonism: The Influence of Japanese Art and Culture on French Impressionism, Art Nouveau, Art Deco and the music of the period. She is extremely proud to bring Benjamin Marshall back to the forefront of Chicago consciousness and dialogue.
Robert Bruegmann is a historian and critic of architecture, landscape, preservation, urban development and the built environment, Distinguished Professor Emeritus of Art History, Architecture and Urban Planning at the University of Illinois at Chicago. He is the author of numerous books and articles including the award-winning volume The Architects and the City: Holabird & Roche of Chicago 1880-1918, published by the University of Chicago Press, 1997, the controversial Sprawl: A Compact History published by the University of Chicago Press in 2005 and, most recently, The Architecture of Harry Weese, published by W. W. Norton in 2010. He is also a frequent lecturer, contributor to magazines and blogs and guest on radio and television shows.
Stuart Cohen holds a Bachelor’s and Master’s degree from Cornell University.
Cohen’s work and the work of his firm has been published and exhibited nationally and internationally, receiving awards for design excellence from Progressive Architecture magazine, Interiors magazine, the American Institute of Architects and the American Wood Council. One of twenty architects chosen to represent the United States at the 1980 Venice Biennale, he is a partner in Cohen & Hacker Architects LLC, an educator, lecturer and author of four books on Chicago’s historic residential architecture, including Transforming the Traditional: The Work of Cohen and Hacker Architects, North Shore Chicago Houses of the Lakefront Suburbs:1890-1940, Great Houses of Chicago:1871-1921 and most recently Inventing the New American House: Howard Van Doren Shaw, Architect.
John Zukowsky was Curator of Architecture at The Art Institute of Chicago, 1978-2004. There, he organized award-winning exhibitions and books on architecture and design. John has a PHD from Binghamton University and is a recipient of awards and honors from the American Institute of Architects, the Society of Architectural Historians, and the republics of Austria and France. He has held executive positions within museums in Ohio, Chicago and New York. He was commissioned 2013 by the Benjamin Marshall Society to organize a monograph on that architect, and his latest book published in 2015 is Why On Earth Would Anyone Build That? Modern Architecture Explained.
Paul Florian graduated from Washington University in St. Louis in 1973, after which he studied in London 1975-78 at the Architectural Association, and then earned his MA at the University of Illinois in Chicago 1981-82. He has practiced in Chicago since 1983, his current firm Florian Architects established 1991. He was elected a Fellow of the American Institute of Architects, and his buildings earning him numerous design awards, local and national. Paul has taught and reviewed design at the University of Illinois at Chicago, Illinois Institute of Technology, and Yale University.
In May 1989, Polish poet and writer Agnieszka Osiecka wrote a scathing satirical article about the new social class that had emerged as a result of the introduction of the free market in Poland. In her piece, Osiecka derisively dubbed this developing class “wydeo,” a play on “wideo,”—the polonized version of the English word “video”—where Osiecka purposely replaced the “i” with a “y” meant to mark the group’splebeian character, as well as its lack of knowledge about the western culture it tended to embrace. Contrary to the intelligentsia, whose ethos was expressed through language and literature, wydeo was “a colorful and ubiquitous pack, […] made up of the first owners—and compulsive consumers—of VCRs,” Osiecka wrote. The new class, consisting mainly of small business owners, was ironically described by Osiecka as a group of people whose lives revolved around images. Members of wydeo consumed visual representations, carefully studied and imitated Western popular images, and—being a “colorful pack”—were a picturesque sight themselves. In Osiecka's opinion, the low quality of the images the group consumed—“the head of the family is watching a spy movie, his wife—an Australian melodrama, the offspring—Rambo”—didn’t bode well for their future group identity.
Osiecka's classist and iconoclastic account was published a couple of weeks before the first partially free elections in Poland. However, images like the ones described by the poet had been circulating since the mid 1980s at least. VCRs, satellite dishes, VHS tapes with Western films and TV shows, and illustrated magazines had found their way into Eastern European households thanks to the relaxation of custom and border laws, which allowed for both people and images to travel. Both in the 1980s and 1990s, images and visual media were not merely symptoms of change, but active agents in and of themselves. In the context of Eastern Europe, these visual agents of change can be defined as “capitalist realism,” a predominantly visual style visible in vernacular and artistic representations, mainstream media, popular culture, and public spaces, and one which shapes, projects, naturalizes and justifies neoliberal practices and values wherever such images circulate.
In the twelfth issue of "View," we'd like to invite contributions devoted to the images and narratives of “capitalist realism.” What were the mechanisms of their functioning, their circulation and assimilation in Eastern Europe before and after 1989? What were the differences between local and global “caprealist” images? What were the differences in the transformation of visual culture across the Eastern bloc? How were images employed to produce economic value? What kind of values and models of subjectivity were promoted and what were the mechanisms of representing and producing an ideal neoliberal subject through visual means? What tactics were employed by artists and other subjects in order to oppose the commodification of visual culture? Is it possible to reconstruct a history of countervisual practices in the transitioning Eastern bloc?
Deadline for submitted articles: January 15th, 2016.
We invite you to consult the topic of your article with the editor of the issue (email@example.com).
For editorial and technical requirements, go to:
The Newberry Library is now accepting fellowship applications for the 2016-2017 academic year!
Newberry Library Fellowships provide assistance to researchers who wish to use our collection. We promise you intriguing and often rare materials; a lively, interdisciplinary community of researchers; individual consultations with staff curators, librarians, and other scholars; and an array of both scholarly and public programs. Long-Term Fellowships
Deadline: November 15, 2015
Long-Term Fellowships are intended to support individual scholarly research and promote serious intellectual exchange through active participation in the Newberry’s scholarly activities. Applicants must hold a PhD at the time of application in order to eligible. Fellowships provide a stipend of $4,200 per month. Short-Term Fellowships
Deadline: December 15, 2015
Short-Term Fellowships are available to postdoctoral scholars, PhD candidates, and those who hold other terminal degrees. Most fellowships are restricted to scholars who live and work outside the Chicago Metro area. Short-Term Fellowships are generally awarded for one continuous month in residence at the Newberry, with stipends of $2,500 per month.
Applicants must demonstrate a specific need for the Newberry’s collection.
A presentation by Peter Jaszi, Lead Principal Investigator and Professor of Law, American University Washington College of Law
Date: Tuesday, October 20, 2015, 6:00 PM - 7:30 PM
Location: NYFA, 20 Jay Street, Suite 740, Brooklyn NY 11201
(F to York Street Station or A to High Street/Brooklyn Bridge Station)
Event is free and open to the public
When can an artist or art historian use a photo she snapped in a museum for teaching? Can a museum reproduce an image from an exhibition of contemporary art in a related brochure without licensing it? How can fair use simplify the permissions process in publications? Can an archive put images from its collection online—and if so, with what restrictions? The copyright doctrine of fair use, which permits use of unlicensed copyrighted material, has great utility in the visual arts. But for too long, it’s been hard to understand how to interpret this rather abstract part of the law. The newly-created Code of Best Practices in Fair Use for Visual Arts, produced by the College Art Association, makes it much easier to employ fair use to do visual arts scholarship, art practice, teaching, exhibitions, digital displays and more.
Come hear Professor Peter Jaszi, one of the lead facilitators of the Code, explain how it works, how it was created and why it’s reliable. The presentation will be followed by a Q&A.
The complete Code of Best Practices in Fair Use for the Visual Arts is available on CAA’s website: www.collegeart.org/fair-use/
The Abbott Lowell Cummings Prize, named after the founding president of the Vernacular Architecture Forum, is awarded annually to the publication that has made the most significant contribution to the study of vernacular architecture and cultural landscapes.
This one-day symposium will consider design, in its broadest definition, as a tool of government diplomacy from the early Cold War to the present day. Combining a range of interdisciplinary perspectives, speakers will consider how design has been used as an object of transnational diplomacy from 1945 to the present day – from buildings, to interiors, to objects, to fashion and beyond. Speakers include Susan Reid (University of Sheffield), Cammie McAtee (Harvard), Sonnet Stanfill (V&A), Tom Wilson (Design Museum), Claire Wintle (University of Brighton), Katarina Serulus (University of Antwerp) and Michael Thomson (Design Connect).
Fall Tour of “Anthracite Architecture” Features Victorian Gems
Buildings designed by many of the leading Victorian-era architects from New York and Philadelphia, including Frank Furness, James Renwick, Richard Upjohn, and Bruce Price, will be featured in a three-part tour organized by The Victorian Society in America and taking place from October 15 to 18.
The tour features Victorian buildings rarely on view in three northeastern Pennsylvania towns: Wilkes-Barre, Scranton, and Jim Thorpe.
In the 1800s, Pennsylvania was a center of anthracite coal extraction in the United States, and the region prospered. During this period, property owners could afford to hire the best architects in the country and spend lavishly to build their homes, clubs and houses of worship, and they did.
Wilkes-Barre was at the center of the lucrative mining industry. Jim Thorpe is a mountain town where a pioneering gravity railroad was created in 1817 to bring the coal across the Pocono Mountains to the Delaware River. Scranton became the railroad hub of the coal industry and home of the powerful DL&W Railroad.
As a result, the towns today are filled with Victorian gems, including houses designed by Wilson Eyre, C. P. H. Gilbert, Frank Furness, F. C. Withers, Edmund Gilchrist and Bruce Price, and churches designed by such major architects as James Renwick, Richard Upjohn, Charles M. Burns, Edward Kendall, J. C. Cady, and William Schickel. Many are equal in quality to better known examples by the same designers in larger cities.
Because the region hasn’t been subject to intense development pressure in recent years, many of the buildings are close to their original condition, while institutions such as Wilkes University have restored others for new uses.
The Anthracite Cities Study Tour, as the event is called, will be led by Williams College American art and architecture Professor Michael J. Lewis is leading the tour and broadened it to include Jim Thorpe and Scranton.
The first full day of the tour, Friday, will be devoted to buildings in Wilkes-Barre, the heart of the Wyoming Valley. Originally claimed by settlers from Connecticut, Wilkes-Barre was laid out like a typical New England town with a central town green and an active riverfront. Once large-scale coal mining began in the middle of the nineteenth century, the valley was undermined, literally, by shafts and tunnels
Bruce Price, the father of etiquette expert Emily Post, is especially prominent in Wilkes-Barre, where his wife was born and where he began his independent career. Price is buried in Wilkes-Barre’s Hollenback Cemetery, which has a wide range of funeral monuments that he designed and is considered one of America’s most picturesque cemeteries, overlooking the banks of the Susquehanna River. Wilkes-Barre is also the original base of a prominent contemporary firm, Bohlin Cywinski Jackson Architects.
The second day will focus on Scranton, which became a rail center starting in the 1840s. Its character is more ﬁrmly industrial and stamped by the railroad as much as Wilkes-Barre’s character is influenced by the nearby river. The tour includes buildings by Richard Upjohn, Russell Sturgis, Raymond Hood, Isaac G. Perry, J. C. Cady, Green & Wicks, and Kenneth Murchison, who designed the town’s railroad station with its faience panels showing all the towns linked by the DL&W Railroad. Scranton contains the railroad history complex known as Steamtown, a collection of railroad buildings from the 1850s through the early twentieth century. It is also possible to tour an anthracite coal mine and descend 300 feet.
Sunday will focus on a more pastoral setting known as the “Switzerland of America.” Jim Thorpe is not so much a town but one intact Victorian street in a narrow valley, arranged like a Victorian charm bracelet. At one end of the street is one of the best preserved antebellum houses in America, the 1860 Asa Packer Mansion, whose furnishings are intact to a surprising degree, down to the wooden toilet seat. Alongside it is the 1874 Harry Packer Mansion, designed by Addison Hutton and now a bed-and-breakfast.
The tour also includes the 1867 St. Mark’s Episcopal Church by Richard Upjohn and the 1888 New Jersey Central Depot by Philadelphia’s well-known engineer-architects, the Wilson Brothers.
At the time of the tour, the autumn foliage will be at the peak of changing colors, providing an ideal backdrop for viewing the architecture produced by America’s anthracite coal aristocracy.
The cost is $425 for Victorian Society members. A block of hotel rooms has been reserved in Scranton for tour participants. More information is available on the Society’s website at www.victoriansociety.org; or email firstname.lastname@example.org
An International Conference dedicated to the subject of architectural magazines and architectural history seen through their published material.
The Richardson Olmsted Complex is being rehabilitated by the Richardson Center Corporation and adaptively reused as a hospitality venue and cultural amenity for the city. Alongside and intertwined with Hotel Henry Urban Resort and Conference Center will be the Buffalo Architecture Center (BAC), an integral component of the renovation project. Hotel Henry and the BAC are the first phase - and about 1/3 of - the redevelopment of the Richardson Olmsted Complex and are expected to open in Fall 2016.
The Richardson Olmsted Complex, formerly known as Buffalo State Hospital, was designed in 1870 by the notable American architect H. H. Richardson. This expansive group of buildings was originally constructed on a site of 200 acres. It is set within a landscape designed by Frederick Law Olmsted and Calvert Vaux and planned in collaboration with Thomas Story Kirkbride – a doctor from Philadelphia whose work focused on the treatment and care of mental health patients. The complex consisted of ten one and a half to three story high pavilions built of Medina sandstone or brick that are disposed symmetrically on either side of a twin towered administration building. The complex was completed in 1896 and is now listed in the National Register of Historic Places and is a National Historic Landmark. The Richardson Olmsted Complex is located in the city of Buffalo and is adjacent to existing residential neighborhoods, alongside the campus of SUNY Buffalo State and close to the Burchfield Penney Art Gallery, the Albright-Knox Art Gallery and the Buffalo History Museum.
The BAC’s mission statement follows here:
The Buffalo Architecture Center (BAC) explores the excellence in architecture and city planning as demonstrated by Buffalo’s outstanding architectural heritage. Located in the Richardson Olmsted Complex, the Center will provide orientation, prompt inspiration, and serve as a gathering place launch new ideas related to architecture, landscape and design. Through exhibitions, tours, programs, and outreach, the BAC engages the public in Buffalo’s architecture, landscape design, and urban planning, and its role in culture and design literacy.
The BAC fosters collaboration with organizations with the similar goal of activating Buffalo’s architecture, planning, and landscape. By providing a center to host exhibitions, events, and programs, the BAC actively collaborates with aligned groups in dialogue and shared programming.
This call for proposals seeks responses from architects, journalists, designers, critics, historians, photographers, artists, and other scholars and professionals, all of whom are eligible for this program. Applicants should submit a detailed proposal for a temporary exhibition for the BAC to open in 2017. The submission should be developed to ensure an opening in March or September of that year and the proposed date clearly noted. The exhibition will be staged alongside two other permanent exhibitions focusing on the city of Buffalo and the Richardson Olmsted Complex. The successful candidate will work with the Buffalo Architecture Center Coordinator to execute the project. Proposals should reflect the BAC’s mission statement as well as its primary curatorial theme of “design literacy,” a rubric which intends to promote a toolkit of ways for informed and general audiences to understand the social, political, and artistic impact of design on all aspects of life. The content of the proposal is at the discretion of the applicant and need not have a direct relationship to the permanent exhibition of the BAC, which will address the city of Buffalo.
Ideas for projects that take innovative curatorial approaches and experimental formats are especially sought. Potential themes might include, but are not limited to, architectural history, contemporary debates in architecture, urban issues, and landscape design. The BAC encourages a wide range of proposals for curatorial projects with a broad scope. The BAC seeks proposals that use the curatorial project as a tool to foster ideas, to question relevant positions, and to introduce new research themes with the ultimate goal to advance new thinking for architecture and the built environment. The output of the proposal must have a spatial component that engages a roughly 1500 square foot space within the Buffalo Architecture Center.
The recipient will receive a $10,000 honorarium for the project and will have a $50,000 budget towards production and installation. The scope of the project and specific timing of the project will be coordinated in consultation with the BAC Coordinator, Peter Christensen. No more than one project per applicant will be accepted. Collective or collaborative projects are welcome. All submissions must be new projects, never presented, published, or realized before.
Five (5) sealed copies of the application should be submitted by mail to the BAC Coordinator at the address listed below no later than 5 PM EST on Monday, October 19, 2015. Applications should also be sent electronically to the BAC Coordinator at email@example.com. File sharing programs like WeTransfer or Dropbox may be used for this purpose. Applications should consist of the following documents and information):
A curatorial statement (1,500 to 2,000 words, with no more than 10 images), including the description of the project and strategic justification. The document must also include a plan and a working schedule.
A curriculum vitae detailing education, research and professional experience, and any other relevant information.
A representative selection of a few realized projects that convey an impression of the candidate’s distinctive approach.
Contact information for 2 academic or professional references who are familiar with the candidate and his/her work.
Additional Details of the RFP Process
Questions about the project or proposal submission requirements should be addressed to the BAC Coordinator at firstname.lastname@example.org.
The opening of the National Public Housing Museum for the Chicago Architecture Biennial is an opportunity to see a cultural diamond in the rough. When you visit, you will experience a museum-in-the-making, featuring three interesting and insightful exhibits against the backdrop of an abandoned public housing building. As a visitor, you are a participant in the history of this building as it unfolds. This is a once-in-a-lifetime chance to experience the building in a unique way, unlike how the residents of the past experienced it, and distinct from the visitors who will follow when we officially open our doors in 2017.
The anchoring exhibit for the Biennial is entitled, "House Housing," an exhibition first presented by the Temple Hoyne Buell Center for the Study of American Architecture in the third-floor apartment of Columbia University’s Casa Muraro in June 2014, to coincide with the opening of the 14th International Architecture Exhibition in Venice. After the exhibition in Chicago, House Housing will also appear as a part of the Wohnungsfrage (“The Housing Question”) exhibition at the Haus der Kulturen der Welt in Berlin, and then again in the spring at the MAK Center for Art and Architecture’s Schindler House location in West Hollywood, CA. In 23 brief, historical episodes, running from 1910 to 2014, Housing Housing presents a critical analysis of architecture's engagement with real estate development, particularly in the design of housing. The second exhibition, entitled "We, Next Door," is organized by NPHM with its “Youth Advisory Council” (YAC) to respond creatively and critically to the House Housing exhibition’s episodes curated by the Buell Center —situating the issues it addresses specifically in Chicago, and in the teens’ lived experience of public housing.
The third exhibition, entitled "Collection, Building, Action." Through artifacts and media the Collection, Building, Action exhibition illuminates the activist mission of the NPHM and the work of NPHM staff, volunteers and advisors in oral history and material culture collections and programming around public housing history, practice and policy since 2007. The exhibit invites visitors to engage NPHM’s ongoing efforts to shed new light on the history of public housing, to envision its future, and to draw renewed attention to the meaning of “the public good” in civic discourse.
We would like to emphasize that this a unique opportunity to experience three outstanding exhibitions within an ABANDONED PUBLIC HOUSING BUILDING. You will be experiencing a cultural diamond in the rough. Therefore, we cannot guarantee you all the conveniences of a fully-restored museum.
What you need to know:
There are no bathroom facilities. We have permission from local establishments for our visitors to use their bathroom facilities.
Due to the fact that we are not a fully-restored building, there is no disabled access to the building at this time.
The flooring is old and can be tricky- please watch your step and wear appropriate footwear (we recommend well-fitted, close-toed shoes)!
There is no climate control in the building. It could be chilly inside. Dress appropriately.
Historic preservation activism in New York City did not begin in the 1960s with the fight to save Penn Station and the effort to pass the Landmarks Law—it began in the late 19th century. Little-remembered preservation pioneers like Andrew H. Green and Albert Bard, as well as various women's garden clubs, and patriotic and civic organizations laid the groundwork for the generations of preservationists that would follow. Join us to recount the triumphs, failures, and tactics of these early preservationists, and discuss what they might teach us moving forward.This program delves into the themes of our exhibition Saving Place: 50 Years of New York City Landmarks, on view through January 3.
Michael Miscione, Manhattan Borough Historian
Anthony Wood, Founder and Chair, New York Preservation Archive Project
Amy Freitag, Executive Director at JM Kaplan Fund
Seri Worden, Field Services at National Trust for Historic Preservation
$10 tickets (regularly $16) using the code SAVE50
Fifteen I Tatti Fellowships, each for twelve months, are available
annually for post-doctoral research in any aspect of the Italian
Renaissance broadly understood historically to include the period from
the 14th to the 17th century, and geographically to include
transnational dialogues between Italy and other cultures (e.g. Latin
American, Mediterranean, African, Asian etc.).
Deadline Oct 15, 2015
Wallace Fellowships, for four or six months, are available for scholars
who explore the historiography and impact of the Italian Renaissance in
the Modern Era (19th-21st centuries). Projects could address a range of
topics from historiography to the reaction to, transformation of, and
commentary on the Italian Renaissance and its ties to modernity. Also
welcome are projects on museum and collecting history, and on the
survival of the Renaissance in modern art and architecture, in
literature and music, and in philosophy and political thought.
Berenson Fellowships, for four or six months, are available for
scholars who explore "Italy in the World". Projects should address the
transnational dialogues between Italy and other cultures (e.g. Latin
American, Mediterranean, African, Asian etc.) during the Renaissance,
broadly understood historically to include the period from the 14th to
the 17th century.
Mellon Fellowships in the Digitial Humanities, for four or six months,
are available for projects that cut across traditional disciplinary
boundaries and actively employ digital technology. Applicants can be
scholars in the humanities or social sciences, librarians, archivists,
and data science professionals. Projects should apply digital
technologies such as mapping, textual analysis, visualization, or the
semantic web to topics on any aspect of the Italian Renaissance
Deadline December 14, 2015
See website for details about these and other grants, including:
Craig Hugh Smyth Fellowships, for three months, are available for
curators and conservators. Projects can address any aspect of the
Italian Renaissance art or architecture, including landscape
David and Julie Tobey Fellowship, for three months, is awarded to
support research on drawings, prints, and illustrated manuscripts from
the Italian Renaissance, and especially the role that these works
played in the creative process, the history of taste and collecting,
and questions of connoisseurship.
A One-day colloquium, co-organised by the Architecture, Space and Society Network and Birkbeck Institute for Social Research
Friday 23 October 2015, 10am-5pm.
The concept of architectural design is accounted for on separate terms to the world in which it emerges – it is not socially dependent. Yet, there are building projects where the past plays a creative part in the design process.
In archaeology, an exploration of temporal details can unsettle the sequence of design followed by occupation and instead reveal how people design with living.
In between these two disciplines, ethnographic accounts of making demonstrate how design emerges through routine practices of reiteration and alteration. Architecture in time considers the social complexity of buildings, it brings to the fore time as a creative force in design, and makes architecture depend on society.
Architecture in Time is an interdisciplinary colloquium that considers the social complexity of buildings, brings to the fore time as a creative force in design, and makes architecture depend on society.
Key themes: the production of architecture, architecture and participation, the temporality involved in the mediation between matter and form, and the relation between design and occupation.
This conference looks at practices of leisure, recreation and sociability in pre-modern societies and how these were reflected in and shaped by spatial practices. As is the case today, sociable, leisure and recreational practices and events were important means for strengthening associations and social bonds, creating local and regional identities, and maintaining distinctions. While the role and practices of sociability in clubs, societies and guilds have been well explored in recent decades, their connections with leisure and recreation have been neglected. Sociability has in recent years featured prominently in histories of consumer societies and material culture. A new interest in spatiality has also led to an intensive investigation of sociable public places such as coffee houses, clubs, salons, shops, and taverns and their connection with the emergence of a (political) public sphere. (Spatial) practices and modes of sociable leisure and recreation in early modern society, however, have received much less attention. The main research undertaken in this area is largely concerned with English urban developments in commercial leisure in the eighteenth century, while practices and spaces of recreation, diversion and sociability before 1660 and beyond Europe have only very recently come into clearer focus.
The aim of this conference is to take stock of the current state of research in the field of spatial practices of leisure, recreation and sociability. It aims to bridge the gap between histories of recreation, leisure and sociability in the eighteenth century and earlier periods, and to facilitate conversations between historians working on different case studies in Europe and beyond in order to develop comparative perspectives. Contributions might investigate spatial practices or the creation and usage of public, economic, exclusive or private places and spaces for leisure and sociability in urban, courtly or rural contexts. Papers are also welcome to explore different forms of leisure and recreation (sport, games, performances, drinking and eating etc.) and sociability (for example, with family, friends, neighbours, status groups, work and religious associations etc.)
Papers could address issues such as the following, but are not limited to this list:
Topographies of places and spaces. What are the different places and spaces of leisure, recreation and sociability in early modern towns and villages? How are they connected? Are different spaces used by the same groups on different occasions or do they co-exist?
Multi-functionality of spaces. What other purposes do sociable places serve and does the multi-functionality of places influence or reflect on the practices of leisure and sociability?
Comparisons. How do practices and spaces differ between town and country, between different regions, between countries? Are there similarities?
Transfer of practices from town to country and vice versa, between cities, between countries. Who are the agents of transfer? How are fashions created and transferred?
Change over time. How did spatial practices of leisure and sociability change over time? Which spatial practices or places formerly in use were abandoned, and what replaced them? Who or what initiated these changes? Who opposed these changes and how?
Social relations created in sociable places and spaces and modes of inclusion or exclusion (gender, status, age).
The conference will be held at the German Historical Institute London on 19-21 May 2016. Proposals from scholars at any stage in their career are invited and papers with an interdisciplinary approach are particularly welcome.
Standard travel expenses and the cost of accommodation for the duration of the conference will be reimbursed.
If you are interested in presenting a paper, please submit an abstract of up to 300 words and a short CV by 8 November 2015.
All enquiries and proposals should be sent to Angela Schattner: email@example.com
German Historical Institute London
0207 309 2029
How do architectural projects like The 606, the Riverwalk, Maggie Daley Park, and the Navy Pier redesign affect the greater city? Architecture sometimes affects not only the experience of users within the structure but reshapes a community’s infrastructure. In this discussion, a part of the Chicago Architecture Biennial, we’ll look at how the work of a few designers is changing Chicago and other cities.
Join Gina Ford (Riverwalk), Matthew Urbanski (The 606, Brooklyn Bridge Park), Andrew Vesselinovitch (The 606, Riverwalk), and Sarah Weidner Astheimer (Navy Pier) for a conversation on how architectural projects can redraw urban boundaries.
After the discussion, we’ll take a walking tour of The 606 led by Jean Linsner and docents from The Trust for Public Land and gain a deeper understanding of how it’s reshaping the adjacent neighborhoods.
Gina Ford, Principal, Sasaki’s Urban Studio
Matthew Urbanski, Principal, Michael Van Valkenburgh Associates
Andrew Vesselinovitch, Urban Designer, Ross Barney Architects
Sarah Weidner Astheimer, Senior Associate, James Corner Field Operations
Michelle Ha Tucker, IDEO
Free and open to the public.
This program is presented as part of Chicago Public Library’s One Book, One Chicago.