Recent Opportunities

  • John Coolidge Research Fellowship

    Dates: 27 Nov – 22 Dec, 2017

    The John Coolidge Research Fellowship assists graduate students at a New England college or university working on topics in architectural history, the built environment, or a related field through an award of $500 to $1,000 to support their research. Applicants should submit a proposal (not to exceed three pages, typed and double-spaced) that explains the significance of their overall project, its current stage of development, plans for its completion, and a detailed plan of work that addresses how the funded research will fit into their larger project. Applicants should also submit a budget, a curriculum vitae, the source and amount of any other current or potential funding for the project, and one letter of reference (preferably from the student’s advisor). All files are to be submitted as one pdf document.

    Due:  December 22, 2017

    Email to: Anne-Catrin Schultz, NESAH Fellowship Coordinator:

    Call for fellowships also on:

  • Nineteenth Century Magazine, peer-reviewed

    New York | Dates: 27 Nov, 2017 – 15 Jan, 2018

    Science Issue coming up.  We are open to submissions from scholars in the fields of cultural and social history of the United States from 1837 to 1917.  Nineteenth Century, published by the Victorian Society in America, is in its 37th year of publication and can be found in 250 libraries.  We publish features reflecting current research on architecture, fine arts, decorative arts, interior design and landscape architecture.  Our next issue is devoted to the topic of science in these fields.  2,000 to 6,000 words.  Due January 15th, 2018.  Apply to Warren Ashworth, Editor at


  • Bishir Prize for best juried article

    Dates: 01 Dec, 2017 – 01 Feb, 2018


    The Bishir Prize is awarded annually to the scholarly article from a juried North American publication that has made the most significant contribution to the study of vernacular architecture and cultural landscapes. Work published as a chapter in a book is eligible along with journal articles. Nominations should be based on primary research, break significant new ground in interpretation or methodology, and contribute to the intellectual vitality of vernacular studies. Entries may come from any discipline concerned with investigating vernacular architecture/landscape. Nominated pieces must bear the publication imprint of 2016 or 2017.

    Deadline for submission is 1 February 2018. Send an electronic copy of the work to the prize committee: Elizabeth Collins Cromley (, Joseph Sciorra (, and Richard Longstreth, chair ( Please provide the author’s contact information along with your own. Note that the committee automatically considered all refereed articles appearing in the VAF’s journal, Buildings + Landscapes.

    The prize winner and nominator will be notified in early March. The award will be presented at the Vernacular Architecture Forum annual meeting in early May, 2018.
  • CFP: Connecting across Europe? Ceiling Painting and Interior Design in the Courts of Europe around 1700

    Hanover | Dates: 22 Nov – 23 Dec, 2017

    Hannover-Herrenhausen, 13.09.-15.09.2018

    International Symposium organized by The Corpus of Baroque Ceiling Painting in Germany (CbDD) from Ludwig-Maximilians-Universität in Munich and The Bavarian Academy of Sciences and Humanities in cooperation with

    ●  der Landeshauptstadt Hannover, Herrenhäuser Gärten,

    ●  The Institute of History of Art and Musicology – IKM of the Austrian Academy of Sciences (ÖAW), and

    ●  The Research Group for Baroque Ceiling Painting in Central Europe (BCPCE).


    Mural Painting as a medium of social distinction of European courts around 1700

    The Corpus of Baroque Ceiling Painting in Germany (CbDD) regards painting on walls and ceilings as a medium. In a courtly context, mural painting would serve the sovereign to define his status within the court society, just as he did otherwise in the fields of architecture or interior design.

    Around 1700, a formal and thematic change can be observed in the choice of these media of social distinction, especially at the courts North of the Alps. In the field of mural painting it is striking in which way the ceiling is now no longer divided into multiple fields, but preferably dominated by one single monumental painting. This way mural painting can define the room. Monumentality resides in scale, and a new form of illusionism becomes important. The 'inganno degli occhi', a highly sophisticated form of illusionism prevails. Mural painting on ceilings gains autonomy and as a medium it follows its own logic. Furthermore, walls and ceiling can now be set into one integrating decorative scheme. This change is not just a matter of form, but also a matter of content: Glorifications and personifications are no longer represented in the old-established way and subject to dynastic formulas but become more and more individualized and tailored for a specific patron.

    Moreover, within the larger European context, mural painting should not be misunderstood as exclusively made in fresco or secco technique, or studied in isolation. The decision for oil painting on canvas or on walls seems - for a longer period of time - not only to have been a question of quality or of the possibility to hire a specialist, but also a question of esthetics. A large number of paintings on ceilings and especially on walls in Central- and Northern Europe have been painted on canvas and were adjusted on ceilings and walls. Stucco does also play an important role here, and seems to have been applied also in rooms of ' higher rank'.


    Possible reasons for the change in interior decoration

    The Corpus of Baroque Ceiling painting in Germany (CbDD) wants to connect the described transformation in the field of mural painting with the political changes in Europe around 1700. This shift of focus occurs parallel to a new position of power established by the monarchs and their states. The sovereigns are now striving for an acknowledgment of their newly achieved status. Numerous territories and new princes within the Holy Roman Empire want to effect their new rights of sovereignty, just as the kingdoms of Sweden and England, or the court of the House of Orange in the Netherlands and, later, in England. Despite their basically anti-catholic orientation, motifs once established to mark protestant ideals, vanish, and patterns, before decidedly perceived as catholic, are taken over, and new forms of a supra-national and trans-confessional court culture of the nobility and the higher nobility develop in Western Europe.

    It could be the case - so a central thesis - that the rise of new dynasties and powers was responsible for the developments described above. The rise of the house of Bourbon and the house of Savoy and the descent of the Spanish Habsburgs to their extinction - re the most striking examples. An independent trend seems to be the decline of artistic influence from the Netherlands in Northern Europe, giving way to anew influx of aesthetic ideas from France and Italy, depending on political alliances, as for example in England or in Brandenburg-Prussia.

    It seems to be at least partially a fact, that the rising powers emphasize their new status while the old-established elites restrain themselves until new standards have had their break-through. Several of these new powers try to establish themselves in this way: Prussia, Poland under the house of Wettin, Russia, Sweden, England, France, Savoy and the house Braganza in Portugal. Within the Holy Roman Empire, as well as in the heritary lands of the house of Habsburg in Austria, several new princes can be named, but also the Elector of Bavaria and the Elector of Hannover.

    Since these innovations take hold of Western Europe in general, we may consider them as part of a more general cultural adjustment process. It is therefore important to discuss, who set these new benchmarks (and why in this way) and who refused or opposed (and why). The deviation from the norms should not necessarily be misinterpreted as provinciality. It may eventually be a well-calculated instrument of princely authority. For it is the magnificence of the dynasties that it is all about. Here, an international comparison promises new insights.

    In order to secure comparability, studies should focus exclusively on sovereigns and their courts. A 'Landesherr' or sovereign is an independent ruler in Europe or within the territories belonging to the Holy Roman Empire of German Nation, ruled and governed by a monarch or sovereign, therefore also including the republics of Genova and Venice. Furthermore, it makes no difference, whether the buildings decorated with mural painting were set on their own territories or in other residential cities or estates, for example in Vienna or in Prague.


    The Location of the Symposium

    The Conference will take place at the so-called Galeriegebäude in Hannover-Herrenhausen. This festive building for the Electors of Hannover is an outstanding example for the change in court culture around 1700. The lost main building as well as the preserved Gallery-building, originally the Orangerie, were erected towards the end of the 17th century in the course of a rise in status and decorated with mural paintings by Tommaso Giusti. Around 1700, Elector Ernst August of Hannover took a bearing on Italy and commissioned a festive building entirely decorated with mural painting inside in the manner of country houses in Northern Italy or a Villa in the Veneto. His son Georg Ludwig, who in 1714 was to climb the throne of England as king Georg I, did not decide to have the main building of the residential palace of Herrenhausen erected in Italian forms after the death of his father. Instead, he choose to preserve the Gallery-building in the first decade of the 18th century, showing a more conservative attitude, reinforced a painted decoration on walls and ceilings after models from the Netherlands and France. In Herrenhausen we may therefore study two different role models side by side.

    It is not widely known, that the court of Hannover was around 1700 a cultural center within the courtly world of Europe, well-connected and related with the most eminent dynasties in Central- and Northern Europe, as well as with the Imperial house of Habsburg. Around 1700, Hannover takes its place at the intersection of European powers and their strategies of visual representation; and the location of the conference itself will also be the subject of discussion.


    Subjects for Conference Papers

    The conference aims at taking a look at mural painting at European courts around 1700 in the form of detailed case studies and to put them in a wider European setting in order to identify analogies and differences. On the other hand, general surveys are most welcome which undertake the effort to put singular phenomena into a bigger picture. What did the patron want to achieve and why was this solution chosen and not another one? Where these solutions appropriate, and have they been accepted? How were they received?


    We are looking forward to papers on courtly objects from across Europe, secular as well as sacred. The discussion should focus on the question at what times and in which cases artists from Italy or France were hired by the respective court, whether or not local artists were sent abroad for study to Italy or France. In spite of the dominant influence of French court art and culture all over Europe, this seems not the case in the field of mural painting. What are the reasons?

    Papers may focus on the following questions, and related subjects:

    ● Dynastic connections: Are there specific patterns of representation which could be related to dynastic connections? Have dynastic marriages any impact on the choice of decorative schemes?

    ● The impact of Confessions: Does the confession play a role in mural painting, for example in the representation of heaven: Did Catholics prefer to take a look into godliness, while Protestants depicted an image of divinity? In which way do pictorial strategies follow confessional patterns or are they just following a fashion?

    ● Iconographical and iconological Questions: What can we learn from a comparison of scenes from mythology, literature, personal and dynasty-related subjects, such as cycles from the Life of Eneas, the Fall of Phaeton, the apotheosis of an individual or a dynasty, personifications and allegories of the four seasons or the elements ecc., discussed from a transnational and trans-confessional point of view?

    Project directed by:

    Prof. Dr. Stephan Hoppe (Munich), Dr. Herber Karner (Vienna), Dr. Heiko Laß (Munich/Hannover)

    How to apply:

    Presentations are welcome in German or English, and should not exceed the time frame of 25 minutes. Suggestions from no more than 1 page please send until 23.12.2017 to:

    Corpus der barocken Deckenmalerei in Deutschland

    Dr. Heiko Laß

    Institut für Kunstgeschichte

    Ludwig-Maximilians-Universität München

    Zentnerstr. 31

    D-80798 München


  • CFP: Ephemeral Exhibition Spaces (1750-1918)

    Geneva | Dates: 22 Nov – 01 Dec, 2017

    During the last decades of the Ancien Régime and throughout the long nineteenth century, people in Europe marveled at absent worlds or past events that were reenacted visually or mentally in a variety of ephemeral exhibition spaces, like temporal museums, exhibits, (private) cabinets and, most strikingly, panoramic theaters and dioramic constructions. The latter installations or decors visually imitated reality, rather than represent it, like art would do, and with their illusory optical effects they were very popular with the big audience. They were however also criticised by those who stressed the imaginative, mental nature of vivification against forms of visual mimicry. From the very outset, reenactment in these spaces comes forward as an ambiguous, multifaceted and conflictive strategy. In the new public and private spaces of the nineteenth century, ephemeral exhibition spaces or spaces with an exhibitional dimension par excellence fitted more encompassing epistemological and experiential strategies of reenactment. Within a wide scope of cultural practices, they provided new spatial frameworks of understanding and experiencing reality, of imagining, of identification and control. It is however still a matter of debate how the epistemological, visual and experiential dimensions of reenactment interrelated, conflicted and coincided in these spaces. Reenactment in ephemeral exhibition spaces was caught between visual and mental strategies, between material tangibility and imagination. Reenactment in these spaces was also at the same time a tool of (scientific) knowledge and of subjective experience. Imagination could in this context strongly relate to the sensation of the uncanny, to aesthetic rapture, to (ideological and political) identification and to personal memory or even, in particular cases, to solipsist isolation. These spaces, finally, precisely because of their exhibitional nature, are also revealing of a dynamic of control, of voyeurism, of a problematic dealing with otherness, difference and absence, of people, of cultures or of the past.

    Our symposium intends to discuss a wide variety of ephemeral exhibition spaces or spaces with a distinctively exhibitional dimension, such as for example dépôts, derelict gardens, ruins, boudoirs, museums, exhibits, private interiors, cabinets, antique stores… against a broad cultural background and treated from various interdisciplinary angles within the humanities, including cultural history, history of art, literary studies and comparative literature, intellectual history, material culture studies, museum studies and others. We particularly, but certainly not exclusively, welcome papers, either in English or in French, on the following topics:

    - Ambiguous, multifunctional, liminal or hybrid spaces, in-between spaces, spaces between public and private uses, as well as the cultural practices they are connected with.

    - Imagery spaces, for example in written or visual sources (literature, catalogues, guides, travel literature, letters, art, images etc.) or material spaces that are able to stage the role of the imaginary in the construction of cultural practices.

    - Mediating spaces that worked as catalysts for interaction and interrelation between a number of categories such as gender and social classes.

    There is no registration fee for the conference

    Final papers, either in French or English, will be published in an edited volume with a reputable editor.

    Proposals (maximum 250 words) have to be sent to Camilla Murgia ( and Dominique Bauer ( by December 1, 2017. Those who submitted their proposal will be notified of their acceptance by December 20

    Conveners: Dr. Camilla Murgia, University of Geneva and Prof. Dominique Bauer, Catholic University of Leuven

  • Harvard University Graduate School of Design 2018 Wheelwright Prize

    Dates: 22 Nov, 2017 – 14 Jan, 2018

    The Harvard Graduate School of Design (GSD) is pleased to announce the 2018 cycle of the Wheelwright Prize, an open international competition that awards $100,000 to a talented early-career architect to support travel-based research. The 2018 Wheelwright Prize is now accepting applications; Deadline for submissions is January 14, 2018. This annual prize is dedicated to fostering new forms of architectural research informed by cross-cultural engagement.

    The Wheelwright Prize is open to emerging architects practicing anywhere in the world. The primary eligibility requirement is that applicants must have received a degree from a professionally accredited architecture program in the past 15 years. An affiliation to the GSD is not required. Applicants are asked to submit a portfolio, a research proposal, and a travel itinerary that takes them outside their country of residence. Finalists will be asked to travel to the GSD for finalist presentations on March 5, 2018.

    In 2013, Harvard GSD revamped the Arthur W. Wheelwright Traveling Fellowship, which was established in 1935 in memory of Wheelwright, Class of 1887. Intended to encourage the study of architecture outside the United States at a time when international travel was difficult, the award was available only to GSD alumni; past fellows have included Paul Rudolph, Eliot Noyes, William Wurster, Christopher Tunnard, I. M. Pei, Farès el-Dahdah, Adele Santos, and Linda Pollak.

    An international jury will be announced in January 2018. In addition to Wheelwright Prize Organizing Committee members Dean Mostafavi and Professors K. Michael Hays and Jorge Silvetti, previous juries included the following: Gordon Gill, Mariana Ibañez, and Gia Wolff (2017 jury); Rafael Moneo, Kiel Moe, Jeannie Kim, Benjamin Prosky, and Eva Franch i Gilabert (2016 jury); Craig Evan Barton, Preston Scott Cohen, Sarah Herda, and Elisa Silva (2015 jury); Iñaki Ábalos, Sílvia Benedito, Pedro Gadanho, Linda Pollak, and Shohei Shigematsu (2014 jury); Yung Ho Chang, Farès el-Dahdah, Farshid Moussavi, and Zoe Ryan (2013 jury).

    Applicants will be judged on the quality of their design work, scholarly accomplishments, originality or persuasiveness of the research proposal, and evidence of ability to fulfill the proposed project. Applications are accepted online only, at Finalists MUST be available to travel to Cambridge, Massachusetts, for finalist presentations on March 5, 2018, at the GSD. A winner will be named in Spring 2018.

  • Thesaurus Poloniae Fellowship Program

    Krakow | Dates: 22 Nov, 2017 – 21 Jan, 2018
    Thesaurus Poloniae is a three-month-long Fellowship of the Minister of Culture and National Heritage of the Republic of Poland implemented by the International Cultural Centre in Krakow in autumn 2009. The programme is addressed to non-residents of Poland  who conduct their research on culture, history and multicultural heritage of the Republic of Poland as well as on Central Europe. Both the researchers who deal with practical aspects of management and protection of cultural heritage, and theoretists dealing with history, sociology, ethnography, anthropology etc. are welcome to apply and participate in the programme. Thesaurus Poloniae Fellowship is run in two categories: Senior Programme addressed to university professors and senior lecturers/PhD holders, and Junior Programme addressed to PhD candidates. 69 researches from 28 countries (Armenia, Azarbajdzan, Belarus, Belgium, Canada, China, Croatia, the Czech Republic, Egipt, Estonia, France, Georgia, Germany, Great Britan, Hungary, Iran, Italy, Japan, Lithuania, Moldova, Russia, Romania, the Slovak Republic, Serbia, Spain, Syria, Ukraine and the USA) have participated in the programme so far.
  • CFP: Art, Architecture and Humanism in Bologna 1446-1530

    Bologna | Dates: 22 Nov – 15 Dec, 2017

    International conference, Bologna, 13-15 June 2018

    Institutions involved: Department of the Arts, Department of Classical Philology and Italian Studies, Alma Mater Studiorum, University of Bologna, Ecole Pratique des Haute Etudes, Sorbonne (PSL) Paris, Histara

    Organizing Commitee: Gian Mario Anselmi, Andrea Bacchi, Daniele Benati, Francesco Benelli, Sonia Cavicchioli, Loredana Chines, Sabine Frommel, Angela Maria Ghirardi, Irene Graziani, Fabrizio Lollini.

    Since the XIII century Bologna was the second most important city in the Papal States. Due to its central position, and closeness to all the major courts of the Italian peninsula it was a rich crossroads for commercial, cultural and artistic exchange. Moreover, the Studium, its university, was together with the Sorbonne, in Paris, one of the greatest European intellectual cultural centres, bringing together a unique scholarly community, a very appealing aspect for both students (amongst whom we can count Leon Battista Alberti and Tomaso Parentucelli, future pope Nicolas V) and professors.

    In spite of this cultural and economic climate, and the presence of first class artists in town, except for some remarkable but isolated cases, the Bolognese Humanism was slow in taking hold. This delay, compared to other main Italian courts, was probably due to the persistence of the Gothic tradition, still very strong also in the Studim, before Nicolas V’s 1455 Bull. The old-fashioned tastes of the city’s aristocracy, the prominence of the great building site of San Petronio, as well as the lack of local antique buildings to take as inspirational models, all contributed to this stagnation.

    The arts and literature started developing, according to different rhythms, in the period spanning from the beginning of the rule of Sante and Giovanni II Bentivoglio (1446-1506) until 1530, when the Emperor Charles V and his court were hosted for his coronation, thus putting the town at the center of the attention of all the European courts. The praise in honor of Giovanni II Bentivoglio that glorifies him for having transformed the city built in wood to a city built in marble, as Augustus had done with Rome, is quite representative of the fact that times were changing.

    The conference intends to define the identity of Bolognese literary and artistic culture and practice between 1446 and 1530. Papers should address with an original and innovative approach the humanistic Bolognese revolution, its influence and effects in relation to painting, sculpture, architecture, literature, their mutual exchanges and interactions, as well its reception in other Italian and European cultural centers.

    The conference is organized in four sessions:

     - Philology and symbols: Bolognese Humanism between word and image (chair: Gian Mario Anselmi)

    Keywords: symbols; philology; encyclopedism; images.

     - Architectural language and written language (chair: Francesco Benelli)

    Keywords: Origins and identity of the Bentivolian humanistic architectural language; Architecture and decoration; Court architecture; The Bolognese reception of Florentine, Milanese, Venetian and Roman innovations; Architectural theory; The Medieval tradition in the new Humanistic Language; Giulio’s II arrival and the new Roman stylistic references.

     -The Sacred dimension (chair: Daniele Benati)

    Keywords: Representation and liturgic space; Innovative altarpieces: types and shapes; The patron’s role and expectations; The Artists cultural background; The workshop’s role; Illustrating liturgic books; Tradition and innovation; The Influence of foreign models; Humanists and sacred sculpture and painting, Sacred space and self-representation; Painted architecture; Tasks and responsibility in the product process; Literary texts as sources; Images and texts; Places and forms of devotion.

     - Bologna and Europe (chair: Sabine Frommel)

    Keywords: The migration of Bolognese artists; The role of Bolognese artists in the definition of classicism in Europe; Bolognese influence on the assimilation of Renaissance language; Bolognese methods in practice in foreign countries; The Bolognese artist abroad: habits and lifestyle

    Interested applicants should send their proposal and a curriculum, each of 250 words max, also stating the section they would prefer, by 15th December 2017.

    Please submit your abstract to:

    Selected abstracts will be notified by 15 January 2018

    Accommodation costs will be covered; Travel costs will be covered up to 200 euros for European participants and up to 500 euros for Overseas (Extra European) participants.

  • International Fellowship Program at the Staatliche Museen zu Berlin

    Berlin | Dates: 22 Nov – 31 Dec, 2017

    Launched in 2009, the International Fellowship Programme offers scholars from around the world the opportunity to spend one to three months on a research residency at the Staatliche Museen zu Berlin.

    The programme supports research projects that bear direct relation to the diverse institutions and rich collections of the Staatliche Museen zu Berlin. It aims to strengthen the Staatliche Museen zu Berlin’s position within the international scholarly network and is therefore aimed specifically at foreign scholars who do not reside in Germany. The programme especially promotes young researchers. The fellowships allow researchers to work on their project and make professional contacts at the Staatliche Museen zu Berlin. As a result, they also get to participate in the scholarly and cultural life within the Staatliche Museen zu Berlin and Stiftung Preussischer Kulturbesitz.

    Guidelines [download pdf]

    Request form [download word]

    Other institutions that fall under the umbrella organization of the Stiftung Preussischer Kulturbesitz (the Staatsbibliothek zu Berlin, the Geheime Staatsarchiv Preussischer Kulturbesitz, the Staatliche Institut für Musikforschung, and the Ibero-American Institute) all offer similar scholarship opportunities. For more information, click here

  • Session on C20 mental healthcare facilities in 4th Biennial ACHS conference "Heritage Across Borders" (China, September 2018)

    Hangzhou, Zhejiang Province | Dates: 23 – 30 Nov, 2017

    Submissions of papers are invited for the session “Crossing the Borders between Mental Health and Mental Illness: Spatial Practices and Related Heritage from 1900,” as part of the "Heritage Across Borders" 4th Biennial Conference of the Association of Critical Heritage Studies (ACHS).

    The conference will be held at Zhejiang University, Hangzhou, China, 1-6 September 2018.

    The deadline for submission of papers is 30 November 2017.

    Organizer: Dr Christina Malathouni, School of Architecture, University of Liverpool, United Kingdom (

    For this session, please look at: Theme #3 “Tangible and Intangible”: Session 020 (


    In December 2016, the World Health Organization launched a one-year campaign that focuses on “Depression”. Also announced as the main campaign under the broader scope of the 2017 World Health Day, such a choice underlines how mental health is an integral part of all health and evolves throughout the life-cycle with one in four people affected by a mental disorder at some point in their lives. Yet, is this side of human life adequately represented in heritage?

    This session aims to challenge any perceptions or definitions of heritage as limited within the experiences and criteria set under the assumption of mental health and to the exclusion of mental illness. It aims to host an interdisciplinary debate on spatial practices and structures related to varying models of mental health care provision from 1900 onwards and to promote a diverse and inclusive re-evaluation of heritage criteria.

    The session invites papers on global examples of planned or unplanned spaces that were created for, or adapted to, uses relating to mental health and mental illness from 1900 onwards. Such spaces may be promoting general mental well-being or dealing with defined mental disorders. They may cover any aspect of mental health services: from outpatient facilities, mental health day treatment facilities, psychiatric wards in a general hospital, community mental health teams, supported housing in the community, mental hospitals, to informal or domestic settings. Papers may discuss the built environment and its tangible heritage or intangible spatial practices and experiences.

    The role that a diverse and inclusive approach to all heritage relating to mental health can play against stigmatisation will be central to the session discussion, as will also be a discussion of individual or collective memory and forgetting in relation to aspects of human history that are considered to constitute “difficult”, or “dark”, heritage. 
  • INTERIOR – INFERIOR – IN THEORY? Contemporary Positions in Interior Design Theory

    Berlin | Dates: 20 Nov, 2017 – 15 Jan, 2018

    Abstracts for academic papers and topic proposals are sought for the international conference
    INTERIOR – INFERIOR – IN THEORY? Contemporary Positions in Interior Design Theory
    Berlin, Germany - May 17-18, 2018

    Deadline: Jan 15, 2018
    Notification of acceptance 15.2.2018    

    The conference brings together interior design researchers and educators from different countries to discuss contemporary theoretical positions within/about the discipline.
    What constitutes interior design/interior architecture? How may interior design's relationship to architecture and design be defined and reflected theoretically? How is this discipline, which for decades has been classified as "emerging“ or "relatively young", taught, researched and understood professionally in different countries? How has this changed over time?

    Taking theory building to be one of the most important acts of defining a discipline, the conference wants to draw connections between interior design theory and its historiography, historical research in interior design/interior architecture, and disciplinary conceptions as they are embodied in interior design programs and professional institutions in different countries.

    Given interior design’s status as an "emerging“ discipline, often taught only at universities of applied sciences or, in some countries, not even established as a university subject, the title "Interior – inferior – in theory?“ refers to the notion that interior design lacks a historically grown body of research and, especially, a theory of its own, and instead largely relies on architecture and design theory.
    Instead of continuing to draw on related discipline’s definitions, which result in a definition ex negativo, the conference aims to support the current trend of establishing a body of theory for the discipline that is its own.

    Proposals for paper presentations on the first day of the conference may address but are not limited to one of the following subject areas:    
    - THEORETICAL EXPLORATIONS OF INTERIOR DESIGN/INTERIOR ARCHITECTURE: What distinguishes interior design theory from architecture and/or design theory? How do existing research on the interior and its broad range of subjects relate to the concept of interior design as a discipline? To what extent do these support or challenge the notion of a theory for the discipline?
    - HISTORICAL REFLECTIONS ON THE DISCIPLINE: How has interior design/interior architecture evolved over the last century? How does it relate to the rise and fall of 20th century modernism and where does it stand today?
    - REFLECTIONS ON EXISTING INTERIOR DESIGN RESEARCH: How can interior design research be re-read theoretically? Do its research methods and/or findings affirm, challenge or dissolve the notion of interior design/interior architecture as a distinct discipline?
    - RELATING DIFFERENT PERSPECTIVES WITHIN THE INTERIOR DESIGN/INTERIOR ARCHITECTURE: Researchers, educators and professional institutions hold different types of knowledge and potentially contradictory ideas about the discipline. What types of knowledge and ideas about the discipline can be identified in different places and specific historical periods? Which theoretical insights may be gathered from connecting and confronting these to/with each other?                         
    We particularly welcome contributions that outline ways, in which interior design theory may be distinct from other related fields like architecture and design, or that discuss how a more defined notion of interior design theory might challenge the conventions imposed by those disciplines.

    For academic papers, please submit an abstract of no more than 500 words for a 20-minute presentation and a short CV (max. 75 words) until 15.1.2018 to

    The call for topics invites interior educators, researchers, and members of professional institutions to suggest topics that they would like to present and discuss with other participants on the second day of the conference. This day will be dedicated to current themes and topics, which are related to the conference's concern with interior design theory and discipline building, and to fostering new activities and cooperation, exchange and discussion across national boundaries, research areas and occupational backgrounds. The second day thus extends the above-mentioned subjects, yet in a different format.

    The follow-up discussion raises current topics of interest for discussion with the interior design community. Contributions may take on two different formats; one for individuals and one for small panels. The latter may e.g. present and discuss a topic from an international point of view or from different occupational perspectives (education, research, profession, etc.):
    - INDIVIDUAL PROPOSALS: one speaker, one 10-minute presentation plus discussion.
    - GROUP PROPOSALS: three speakers, three 10-minute presentations plus discussion.

    For topic proposals, please submit abstracts of no more than 250 words and a short CV (max. 75 words) until 15.1.2018 to

    Graeme Brooker, Royal College of Art, UK
    Carola Ebert, BAU International Berlin, Germany
    Imma Forino, Politecnico di Milano, Italy
    Tüüne-Kristin Vaikla, European Council of Interior Architects, Estonia
  • Awards Honoring Avery Curator Janet S. Parks & the Durst Family for their Archival Contributions

    New York | Dates: 19 – 19 Dec, 2017
    This year the New York Preservation Archive Project ( is honoring two awardees who embody the preservation and curation of archives at the 2017 Bard Birthday Breakfast Benefit ( On December 19th the Archive Project will present a 2017 Preservation Award to Janet S. Parks for 36 years of archival stewardship as Curator of Drawings & Archives at Avery Library. A second award will honor the devotion to archival stewardship displayed by the Durst Family. The benefit will also feature a presentation by Kate Ascher on the use of archives in her writings, which include the seminal The Works: Anatomy of a City.

    Since its creation two years ago, the Archive Project’s Preservation Award has honored outstanding contributions to the documentation, preservation, and celebration of the history of preservation in New York City. This year the organization turns its attention to those New Yorkers who exemplify archival stewardship through their work in preserving the history of preservation and New York City’s architectural and archaeological past. Archives hold our city’s stories, and without these honorees this history would be lost, moldering in dumpsters or forgotten to the public. At this year’s Bard Birthday Breakfast Benefit, join in celebrating the work of our 2017 honorees, whose efforts have allowed New Yorkers to tell the built history of our city in perpetuity. 

    More information is below and on the event webpage:
  • Exporting Socialism, Making Business? Intercultural Transfer, Circulation and Appropriations of Architecture in the Cold War Period

    Erkner (near Berlin) | Dates: 20 Nov – 20 Dec, 2017

    21-22 June 2018, IRS Erkner

    After WW II, architecture was used and misused as an ideological signifier for competing systems and for new national identities. Diverse actors and networks took part in architectural exchange within the blocks and beyond the Iron Curtain. Different aid projects posed an attempt to overcome political and economic divides, but at the same time they were often considered as foreign imposition or neo-colonial practice. Tensions between commercial interests and solidarity arose.

    Against this background and referring to the growing scholarly interest for the multi-layered and multi-centred exchanges between the Global South and socialist as well as capitalist countries, we would like to investigate this issue in relation to architecture and constructing industry from an interdisciplinary perspective of architectural, urban and economic history as well as postcolonial studies and heritage preservation. 

    The conference focuses around five aspects:

    I. Designing 
    • What actors, institutions and networks worked on international architectural and urban planning projects on micro-, meso- and macro-scale? Which motives can be outlined? How was the challenge of designing in the abstract handled?
    • Which means and languages of architectural representation were chosen for international projects? How was this issue perceived from different perspectives (socialist, non-aligned, western)?
    • What role did ‘tropical architecture’ as a concept and subject in architectural teaching play?

    II. Circulating
    • What were the geographies, temporalities and typologies of international architectural and urban planning projects?
    • How were ideas, knowledge and actors (such as experts and construction workers) circulated?
    • Which dynamics of bilateral and multilateral investments can be identified?

    III. Appropriating
    • How were international projects adapted to different local circumstances (e.g. on climatic, cultural or economic level)?
    • Which local tensions arose due to the international projects? Where and how were the foreign investments contested? By whom?
    • How has been the international architectural heritage from the post-war era handled over the last decades? 


    IV. Feed-back mechanisms

    • What were the repercussions of international involvement on the architecture and urban planning in home countries?
    • How did the actors reflect upon the international involvement?
    • How were abroad projects presented in the experts’ discourse and in the media?

    V. Framing
    • How were architectural projects influenced by the Cold War politics and economy (e.g. intra-block cooperation, power imbalance)? What was the ideological context of the architectural exchange (e.g. between different socialist countries around the world)?
    • Which role(s) assumed the CMEA and other international organisations in the construction industry?
    • Which concepts are relevant to the investigation of architectural projects (e.g. ‘multiple modernities’)? How can they be challenged?

    Both case studies and cross-cutting analyses are welcome. We strongly encourage submitting papers shifting the perspective to the non-European actors and their involvement in architectural projects.

    Paper proposals (abstract of max. 450 words + short CV) should be addressed to both Dr Andreas Butter ( and Dr Monika Motylinska ( until December 20, 2017.

  • MILLENNIUM: Lower Manhattan in the 1990s

    New York | Dates: 18 Nov, 2017 – 01 Apr, 2018

    Today, the southern tip of Manhattan is one of the fastest growing urban districts in the country: a bustling mixed-use area that has combined its traditional role as America’s financial capital—and third-largest business district in the country—with a skyrocketing residential population, massive media companies and tech start-ups, nearly fifteen million tourists a year, and an impressive collection of cultural attractions, parks, and pedestrian enclaves. In many ways lower Manhattan has become a model of a 21s-century environment of living, work, and play – a dense urban fabric with rich history and innovative architecture, as well as expansive waterfront landscapes. 
    This new diversity of Downtown's economy and populations is surprising, not just because it follows the catastrophe of 9/11, but because not long ago—just twenty years, in fact—lower Manhattan was a different and far more troubled place, one whose very future seemed in doubt, buffeted by profound economic change, and wrenched by complex, often contradictory forces that seemed at once to be accelerating the area’s long decline, even as they nurtured sprouts of renewal and growth.
    new multimedia exhibition at The Skyscraper Museum, Millennium: Lower Manhattan in the 1990s, running through April 2018, vividly recaptures this strange and formative time in the history of New York’s historic commercial hub, through a striking combination of architectural drawings and models, archival and contemporary photographs, original posters, maps, sketches, renderings, and other documents of the era.  Together they offer a portrait of a time and place that, though recent in historic terms, seems oddly remote—due in large part, of course, to the tragic, world-changing event that brought the period to a sudden, unexpected close: the destruction of the World Trade Center, and loss of nearly three thousand lives, on September 11th, 2001. 

    Focusing on the years just before that unimaginable moment, the exhibition tells a fascinating, sometimes poignant story of decline and rebirth.  It is a story framed by the area’s decades-long losing battle against the gleaming postwar power of midtown Manhattan, which, through the 1990s, continued to siphon away lower Manhattan’s major corporations and financial institutions, leaving its inventory of older buildings more than one-quarter empty, and many of its once-grand banking halls and storefronts hauntingly silent.
    But Millennium also recounts another side to the story, presenting the variety of intriguing, often provocative projects—large and small, built and unbuilt—advanced by architects, planners, developers, and civic-minded activists. Aware that the century and millennium wound down and a new era beckoned, these projects began to rethink downtown Manhattan and plant the seeds for its resurgence in the decades to follow.  

    These include a host of major efforts by government agencies and established practitioners—ranging from the build-out of Battery Park City’s 92 acres of new and reclaimed Hudson River waterfront and the East River development of South Street Seaport and the Fulton Fish Market, to sweeping city initiatives for the rezoning and landmarking of historic skyscrapers of the Financial District (today’s FiDi). A model and renderings show Skidmore Owing & Merrill’s startling unrealized proposal for a new New York Stock Exchange trading floor and tower. Beyer Blinder Belle’s work on a restored 19th century Stone Street, reclaimed from crack dealers, shows one of the areas most successful transformations to a pedestrian enclave. Plans for Frank Gehry’s post-Bilbao proposal for a vast new structure for the Guggenheim Museum above several East River piers illustrate exaggerated ambitions of the moment.

    No less intriguing are the series of smaller projects—sometimes built, sometimes not—by then-emerging architectural and urbanist figures such as Smith-Miller + Hawkinson, Machado Silvetti, Studio Asymptote (Hani Rashid and Lise Anne Couture), Peterson Littenberg, and James Sanders, which sought to radically reimagine existing downtown spaces—from Battery Park City, to Liberty Plaza, to the trading floor of the Stock Exchange – or introduce new institutions to the area’s mix.

    Two lower Manhattan cultural efforts, making their debut in these same years, round out the exhibition’s displays.  One is The Skyscraper Museum itself, which opened for business in 1997 with a series of pop-up exhibitions in the grand, but then-empty banking halls of Wall Street.  The other is an interpretive project that inspired the Museum’s entire Millennium project: Heritage Trails New York, a program of forty site markers and printed map, implemented in the late 1990s by the architect Richard D. Kaplan.  Heritage Trails New York was intended to encourage tourism in one of America’s most historic urban districts.  This important early public history project is represented not only through original materials on display, but through the Museum’s digital re-creation of the tours as they were in 1997, and as they would appear in 2017—thus allowing viewers to make a powerful and often moving comparison between downtown as it appeared in the last years before September 11th, and downtown today.  The Heritage Trails website and walking tour can be viewed at
    Millennium: Lower Manhattan in the 1990s will be on view at the Skyscraper Museum’s main gallery
     through April 2018. The companion website can be visited

  • Obdurate Space: Architecture of Donald Judd

    New York | Dates: 17 Nov, 2017 – 05 Mar, 2018
    November 14, 2017 - March 5, 2018

    Obdurate Space: Architecture of Donald Judd is an exhibition focusing on built and unrealized architectural projects by Judd, one of the most recognized artists of the 20th Century. The exhibition reveals how drawing and building cultures impacted his art and suggests how his work has influenced contemporary architecture.

    Obdurate Space: Architecture of Donald Judd details five selected built projects and proposals, both published and unpublished, for architecture designed between 1984 and 1994 within a threefold thematic framework, providing a window into Judd’s body of architectural work. The exhibition will include new representations of projects through both drawing and models, as well as photos of archival material, including drawings and models originally made by the curators, Claude Armstrong and Donna Cohen, while assistants to Judd.

    Claude Armstrong, AIA, LEED AP, Armstrong + Cohen Architecture
    Donna Cohen, Associate Professor University of Florida, Armstrong + Cohen Architecture

  • Cosmism, a Superhumanity symposium at the Princeton University School of Architecture

    Princeton | Dates: 30 Nov – 01 Dec, 2017
    Cosmism, a Superhumanity symposium 
    November 30–December 1, 2017 

    Keynote address by Boris Groys: November 30, 6pm 
    Panels and film screenings: December 1, 10am–5:30pm 

    Princeton University School of Architecture 
    School of Architecture 
    Princeton University 
    Princeton, NJ 08544

    Within the framework of the exhibition ARE WE HUMAN? The Design of the Species: 2 seconds, 2 days, 2 years, 200 years, 200,000 years at Princeton University School of Architecture, Beatriz Colomina, Mark Wigley, and e-flux Architecture are proud to present Cosmism, a Superhumanity symposium, featuring Robert Bird, Maria Chehonadskih, Beatriz Colomina, Boris Groys, Nikolaus Hirsch, Marina Simakova, Anton Vidokle, Mark Wigley, and Arseny Zhilyaev.

    Superhumanity draws from “The Obligation to Self-Design” (e-flux journal issue 0), a text by Boris Groys in which a genealogy of design is traced from the design of the soul and the design of the self to "the design of life as a whole," to respond to the theme of the 3rd Istanbul Design Biennial—Are We Human?—by engaging with and departing from the concept of the “self.” Through its original 50 contributions (e-flux Architecture, September 2016–February 2017) and its continuations in Havana (Artista x Artista, March 2017) and Seoul (MMCA, October 2017), Superhumanity has sought to explore and challenge our understanding of “design” by probing the idea that we are and always have been continuously reshaped by the artifacts we shape and the thoughts we think. In this sense, we can look to Russian Cosmism as one of the most historically significant intellectual movements to have taken place over the past two hundred years in shaping collective self-consciousness and its utopian horizons.

    Russian Cosmism was a movement that called for material immortality and resurrection, as well as travel to outer space. It developed out of the spirituality of 19th century Russia and a strong fascination with science and technology. The doctrine of immortal life in infinite space captured the optimism of both science and the arts at the time. Since then, the utopian, science fiction-like thinking of the cosmists had a great influence on art, architecture, science, and politics in both pre-revolutionary and Soviet Russia.

    Looking at Russian Cosmism today opens up new perspectives on the Russian avant-garde as well as the ideology and politics of Russia to the present day. In his influential writings, Nikolai Fedorov (1829‒1903) demanded that the ultimate goal of technology must be to overcome death; all people who had ever lived on Earth must be brought back to life. The cosmists were also visionary pioneers of space travel. For Fedorov, the colonization of other planets would be the inevitable consequence of the lack of space after the resurrection of the dead. The institution of the museum also played a central role in Russian Cosmism, as the remains needed for the resurrection of individuals would have to be preserved there. Fedorov, like the painter and founder of Suprematism Kazimir Malevich, believed that after the death of God, the museum would be the only place where a transhistorical union beyond the grave was possible.
    Cosmism, a Superhumanity symposium, will focus on the key concepts, continuities, and impact of Russian Cosmism: from Nikolai Fedorov’s philosophy of the “Common Task” to the significance of Cosmist ideas for the architecture, art, science and philosophy of the Soviet era; from authors and artists of the Russian avant-garde who envisioned modern technology as the pathway to a society of universal happiness, to contemporary artistic positions indebted to Cosmism and Universalism.
  • Histories of Postwar Architecture Journal - Call for papers - 1968

    Dates: 18 Nov, 2017 – 28 Feb, 2018

    One in two HPA issues focuses on one single year in postwar architecture. 

    HPA Issue 2 will be on 1968

    This issue is edited by Micaela Antonucci, Sofia Nannini, Gabriele Neri and Matteo Sintini. 

    Authors are requested to send proposals limited to that chronological unit or significantly 
    related to any event occurred in that particular year. 

    Authors must submit directly full papers by
    February 1, 2018 

    Accepted authors will be noti ed by February 28, 2018 

    Publication is expected to be in July 1, 2018.

    Papers should be submitted using The guidelines for paper submission are available at

    Please, fill in the author’s profile with all the informations required as: 

    • Applicant’s name
    • Professional af liation
    • Title of paper
    • Abstract
    • 5 keywords
    • A brief CV (max 2,000 characters)

    Please submit the proposal in the form of MS Word (length between 20,000 and 80,000 characters). 
    The submitted paper must be anonymous. 
    Please delete from the text and file’s properties all informations about name, administrator etc. 
    Papers should clearly define the argument
    in relation to the available literature and indicate the sources which the paper is based on. 

    All papers received will go through a process of double-blind peer review before publication. 

    HPA also looks for contributions for the review section: 


  • Generosity: an international conference at the Welsh School of Architecture, Cardiff, UK

    Cardiff | Dates: 27 – 29 Jun, 2018

    GENEROSITY An international conference to be held at the Welsh School of Architecture, Cardiff, Wales, UK, from 27-29 June 2018

    GENEROSITY is associated with the act of giving or sharing more than is necessary, with gifting, with bravery, with notions of a benefactor and a recipient, and with a quality of being plentiful or expansive. From an architectural perspective, interpretations are many and various.  Alberto Perez Gomez writes of poïesis in architecture as ‘signifying the sort of technical making proper to humans: a poetic making in the sense that it always aimed at more than preserving life.’ Eileen Grey is more explicit, stating that ‘a house is not a machine-à-habiter. It is man’s […] continuation, his spreading out, his spiritual emanation.’  George Bataille, meanwhile, suggests that ‘everything conspires to obscure the basic movement that tends to restore wealth to its function, to gift-giving, to squandering without reciprocation…’

    From a stance of celebrating and questioning architecture’s potential for generosity, this call for papers invites academics and creative practitioners to explore ways in which architecture aspires to, or may be expected to, give more than is necessary. This could be considered within the current economic context of austerity or within the broader historic context of a discipline often working in frameworks focused on cost and quantitative measurement. Reflections are welcomed which critically examine themes of GENEROSITY as related to architecture and related fields, whether they be from a conceptual or theoretical position, embedded in everyday processes and expectations of practice, or from considerations of procurement, regulation, and policy. Possible themes include, but are not limited to:

    Generosity and Delight

    Architects have long argued that good design demands qualitative as well as quantitative appreciation, and goes beyond the scale of a space or materials specifications etc. With time, attitudes to measuring value and good practice are re-articulated and new forms of generosity arise. This theme calls for papers that explore how the concept of generosity is achieved and how it changes in the built environment, whether this be through an exploration of new forms of communicative value, design of ornament, or other, alternative means of measuring such a construct.

    Generosity and Procurement

    The Artistic Directors for the 16th International Architecture Exhibition in Venice (2018) have announced that the festival will be concerned with ‘generosity, thoughtfulness and a desire to engage’. Meanwhile, the British Council call for proposals (2017) questioned: “How can British architecture demonstrate ‘generosity and thoughtfulness’ towards its users, citizens and the public?” If the state of the built environment is governed by developer’ appetites and procurement processes, how might generosity be better embedded in the commissioning, delivery or ownership of architecture and public space?

    Generosity and Participation

    In the vacuum of public sector inactivity, architects (among others) have been called upon to support community-led development, regeneration and invention. Such projects often follow unconventional programmes, and redefine the role of the architect – as facilitator, mediator or advisor. Papers are invited which critique the opportunities, risks and implications of generosity in co-production and participatory design.

    Generosity of Spirit

    Architecture is regularly criticised for being elitist, and overly focussed on a tiny fraction of the global population. Architects like Dominic Stevens and Alejandro Aravena have exploited the facility to share open-access information over the internet, providing housing designs or templates as freely available, open-source resources. While it is unclear what impact these ‘gifts’ will have on the global housing crisis, they are indicative of a generosity of spirit that has potential to reach the furthest corners of the planet. We invite papers that explore issues of ownership in design, or that identify and evaluate architecture or designers working outside of established boundaries or conventional definitions.

     Generation Generosity

    Against a backdrop of socio-political uncertainty, many young practitioners are responding directly to civic and social issues through self-initiated projects and research. Debates around architectural education, the value of practice based learning and the impact of tuition fees have contributed to a surge in self-directed projects amongst young practitioners. Such projects are often nimble, independently instigated and exploratory. We invite papers from postgraduates, young creative practitioners, tutors, and early career academics, to celebrate ideas that represent communality, reciprocal care and giving.

    Confirmed keynote speakers are:

    Professor Martin Bressani, Sir William C. MacDonald Chair and Director of McGill University’s School of Architecture, Montreal


    Daisy Froud

    Architects of Change (AOC), London, UK


    Alastair Parvin

    Co-founder of WikiHouse Foundation, and a member of strategic design group 00


    Dr Chris L. Smith

    Associate Professor in Architectural Design and Technê, University of Sydney


    Nathalie Weadick

    Director, Irish Architecture Foundation


    Opening address at drinks reception: Sophie Howe Wales' Future Generations Commissioner for the The Well-being of Future Generations (Wales) Act


    Abstracts of 300 words for a 20 minute presentation, a 3-minute film, or a workshop are invited on any topic related to themes of Generosity in architecture or related fields, and should be submitted for refereeing by 15 January 2018 to the email, using the template provided on the website.  We invite contributions from academics and creative practitioners. Authors will be notified of selection by 12 February 2018.  Following previous WSA conference publications Primitive, Quality, and Economy, we aim to publish an edited book of selected papers following the conference.

    A drinks reception will be held on the night of Wednesday 27 June and a conference dinner on Thursday 28 June. These will be included in the conference fee of £295 sterling. A reduced fee of £260 applies if payment is received by 31 March 2018. 


    Generosity is the fourth in a series of academic conferences held at the Welsh School of Architecture, Cardiff University, following Primitive, Quality and Economy, and is organised by Dr Mhairi McVicar, Dr Ed Green, Dr Charles Drozynski, Michael Corr, Professor Stephen Kite, and Zoe Berman. For more information, contact Helen Monks at 300 word abstracts should be submitted by 15 January 2018 to using the template on the website.  Registration will open on 12th February 2018 and additional information can be found on the conference website


    Ann Arbor | Dates: 09 – 10 Mar, 2018

    Call for Papers: NETWORKS OF POWER and KNOWLEDGE
    Taubman College of Architecture and Urban Planning; University of Michigan, Ann Arbor
    Planning and Architecture Research Group (P+ARG) 
    2018 Biennial Graduate Student Conference (March 9-10, 2018)

    Keynote Speaker: Kazys Varnelis
    Deadline: January 3, 2018

    The fourth biennial graduate conference of the Planning and Architecture Research Group (P+ARG) of University of Michigan’s Taubman College of Architecture and Urban Planning welcomes graduate student contributions on the theme of “Networks of Power and Knowledge.” This interdisciplinary conference engages the fields of architecture and planning, as well as neighboring fields from the humanities and social sciences.

    Knowledge in architecture and planning moves. It moves through networks of power and capital, through corporate establishments, governmental alliances, international organizations, transnational social movements, and media and technology. These networks of power deconstruct and restructure forms and relations of production—emergent and old. They also produce new social and material assemblages within which spatial knowledge is constantly re-visited and re-organized. The resulting socio-technical formations ultimately reconfigure both the products of, and knowledge within, the fields of architecture, planning, and affiliated disciplines. 

    How do we understand the networks of power and knowledge and the implicit human condition that sustains and transforms architecture and planning practices? At a juncture where our logic and systems of production are becoming digitized and automatized at an unprecedented pace, and when our understanding of the networks and technologies of information are increasingly inseparable from questions of hardware and software, of the accumulation and classification of electronic data, the human mediation of knowledge acquires a new significance. The global phenomenon of post-truth politics equally urges us to re-scrutinize the Foucauldian premise of “knowledge as power.” 

    In this highly networked era of the Anthropocene, we want to explore the interactions between people, ideas, institutions, infrastructures and material objects, especially as these pertain to architecture and planning knowledge, in order to reflect on issues including but not limited to: political economies, ecologies and geographies, poverty, inequality, warfare, mass re/dis-location of people, invasion and occupation of lands and territories.

    We invite graduate students at different stages of study in the U.S. and abroad. We welcome contributions spanning across history to the present, and encourage cross-cultural, cross-continental and interdisciplinary perspectives on the networks of power and knowledge within the built environment. 

    Please submit an abstract (300 words max.) along with a resume (250 words max.) to by January 3, 2018. Applicants will be notified of the status of their submission by January 10, 2018.

    While no travel stipend can be offered to accepted presenters, Taubman College extends free registration for this event to all participants. The events will take place over course of two days, with a commencing keynote address by Kazys Varnelis and a colloquium on the first day, followed by a day-long series of panels and breakout sessions with graduate students, Taubman College and U-M faculty.

  • International Archive of Women in Architecture 2018 Symposium: Women Inventors in Architecture 1700-2000

    Blacksburg | Dates: 16 Nov – 15 Dec, 2017

    The International Archive of Women in Architecture Center

    School of Architecture + Design at Virginia Tech, Blacksburg, VA


    2018 IAWA Symposium – March 28-30, 2018

                Women Inventors in Architecture 1700-2000


    The IAWA invites abstracts for the 2018 IAWA Symposium - Women Inventors in Architecture 1700-2000

    Call for Abstracts: November 15, 2017 

    Abstract Deadline: December 15, 2017

    Selection announced: December 20, 2017


    For centuries, women in architecture have been involved in pushing the boundaries of architecture and architectural practice. Whether as registered architects, members and leaders of architectural firms, academics and scholars, or in any of the less conventional capacities, women have helped transform the discipline of architecture and the related design fields shaping the built environment. The 2018 IAWA Symposium invites abstracts that address specific women or gendered natures of architectural invention. We welcome papers that tackle subjects or inventions generated between the years 1700-2000, and that are international or domestic in scope. We seek papers that conceptualize architectural invention in its many guises, including (but not limited to) ideas, technology, form-making, modes of professional practice that present views into and histories of practices of women in architecture. We encourage abstracts that address how women’s practices have been expanded through invention, as well as how architectural practice has been expanded or impacted by inventions by women. 


    Please email 300-word abstract and a one-page CV to:

    Subject heading: 2018 IAWA Symposium


    Donna Dunay, FAIA

    Chair, Board of Advisors, International Archive of Women in Architecture Center

    School of Architecture + Design

    Virginia Tech, Blacksburg, Virginia   


    The International Archive of Women in Architecture Center

    Founded in 1985, the mission of the International Archive of Women in Architecture Center (IAWA) is to document the history of women’s involvement in architecture by collecting, preserving, storing and making available to researchers the professional papers of women architects, landscape architects, designers, architectural historians and critics, urban planners as well as the records of women’s architectural organizations, from around the world. The IAWA collects this information to fill serious gaps in the availability of primary research materials for architectural, women’s and social history research. These materials are held in Special Collections of the University Libraries. The Board of Advisors of the IAWA Center are a group of elected representatives from around the world, who oversee the research, publication, and publicity of the IAWA as well as identify potential donors (funds and work) for the archive.  The IAWA is dedicated to:


    Find and preserve the records of the pioneer generation of women architects, interior and industrial designers, landscape architects, and urban designers and planners, whose papers may be lost or dispersed if not collected immediately.


    Appeal to retired women from these professions who have played a part in the history of the professions to donate their papers to the IAWA.


    Appeal to active women architects, designers, and planners to save their papers and to consider donating them to the IAWA at a later date.


    Serve as a clearinghouse of information on all women architects, designers, and planners, past and present, and to encourage research on the history of women in these professions through seminars, exhibits, and publications.


    Foster cooperation between all libraries or archives containing data on, or collecting material on, women in architecture, design, and planning.


    The growing archive consists of sketches, manuscripts, books, individual projects, and the works of an entire career. Primary research materials (unique or original works) preserved in the Archive include architectural drawings, photographs and slides, manuscripts, models, and job files. To meet the need of serving as a clearinghouse of information about all women in architecture, past and present, the IAWA also collects secondary materials such as biographical information in addition to books and other publications and exhibitions. Through many significant and diverse donations the Archive is growing into a tremendous historical resource. The Archive currently now houses more than 400 collections and continues to grow in significance through donations from around the world.
SAH thanks The Richard H. Driehaus Foundation Fund at The Chicago Community Foundation for its operating support.
Society of Architectural Historians
1365 N. Astor Street
Chicago, Illinois 60610
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