Recent Opportunities

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  • CLARA Architecture/Recherche Journal #5: Architectural Criticism and Public Debate

    Dates: 27 Jul – 15 Oct, 2017

    ARCHITECTURAL CRITICISM AND PUBLIC DEBATE

    Guest editors: Hélène Jannière (Université Rennes 2) & Paolo Scrivano (Xi’an Jiaotong-Liverpool University) 
    deadline: October 15th 2017 (full articles!)
    download the full call in PDF format

    This thematic section of CLARA Architecture/Recherche Journal’s forthcoming issue Journal is centered on the relationship between architectural criticism and the notion of “public opinion”, the “public realm”, and on architectural criticism conceived as an autonomous discourse, internal to architectural theories and history.

    The issue aims to publish articles that do not consider criticism merely as a body of historical, theoretical or philosophical texts on architecture, but rather as a discipline encompassing diverging protagonists, media, and international exchanges. By posing this hypothesis, the issue seeks to challenge existing concepts related to the reception of architecture in the specialized or public debate seen as a mere passive “reflection” of the building or project.

    In the editors’ view, it is crucial to address the theme of architectural criticism and public debate in order to clarify the definitions of criticism and better understand the overlapping boundaries between criticism per seand other types of writings and discourses on architecture and the built environment. Criticism, historically defined as a literary genre and as a form judgment, is bound up with the emergence during the 18th century of a public space for discussion, as the publication in 1959 of Reinhart Koselleck’s Kritik und Krise made evident. Since the 1980s, art historians or specialists in aesthetics have noted the coincidence between the development of art criticism and the emergence of a public space for debate, the latter conceived in Habermasian terms. Similarly, Richard Wittman (Architecture, Print Culture, and the Public Sphere in Eighteenth-Century France, 2007) grounded his analysis of the formation of a “public discourse on architecture” precisely in the concept of public sphere. Several other scholars have discussed the interactions between art discourse and the public sphere. Can a similar debate be transposed to the realm of architecture? And does the intersection with the public sphere tend to disappear once criticism is intended as a disciplinary discourse, mostly relying on architectural history and theories? 

    This thematic issue intends to address the following questions:

    1. The frontiers of architectural criticism

    Does architectural criticism share themes, protagonists and medias with the public debate or does it maintain an almost exclusive relation to the professional or the academic spheres? If the latter is the case, does architectural criticism pertain to an autonomous disciplinary discourse or does it refer to extra-disciplinary concepts? Provided the changeable nature of its autonomy, to what extent does architectural criticism remain separated from social uses, architectural design practices and economic production?

    2. Architectural criticism and its public

    Can architectural criticism aimed at general audiences be separated from criticism geared towards a specialized public? Is it possible to identify a relation between types of publication (daily newspapers, cultural magazines, political journals, professional periodicals, etc.) and the statuses of the critical discourse? To what extent do these publications and their target readerships influence or create specific forms of criticism?

    The relation between architectural criticism and public opinion can be variously discussed, for example through its connection to the judgment and criteria of evaluation of architecture, as well as through its association to the so-called “crisis” of criticism. Proposed articles may investigate the means by which critics intend to reach various layers of public and how they connect their discourse to those layers. They may also examine the part of the discourse on “architectural judgment” in the debates on architectural criticism. Finally, the editors of this issue encourage the submission of articles that put under scrutiny the relation between “crisis” and criticism, by placing criticism in selected historical moments and specific cultural conditions. 

    GUEST EDITORS:

    First trained as an architect, Hélène Jannière received a PhD (1999) and obtained a Thesis of Habilitation (2011) both in Art History. She has been teaching History of Architecture and Town Planning in French architectural schools from 1994 to 2012, namely at the École nationale supérieure d’architecture de Paris-La Villette. Since 2012, she is Professor of contemporary architectural history at Rennes 2 University. In 2001, she has been the recipient of a fellowship from the Canadian Centre for Architecture. Her main research domain is architectural criticism and 20th-century architectural periodicals. After having extensively published on the subject of architectural magazines of the 1920s and 1930s, her research now focuses on the history of architectural criticism, especially on architecture and urban criticism of the 1950s-1980s. She is currently the scientific coordinator of the international research program Mapping Architectural Criticism. A cartography of architectural criticism, XXth-XXIst centuries (International Research Network), funded by the Agence Nationale de la Recherche (ANR, 2014).

    Main publications:

    • • Michel Ragon, Critique d’art et d’architecture (Rennes: Presses Universitaire de Rennes, 2013), co-edited with Richard Leeman.
    • • “La critique en temps et lieux,” special issue of Les Cahiers de la recherche architecturale et urbaine24/25 (2009), co-edited with Kenneth Frampton.
    • • Architectural Periodicals in the 1960s and 1970s (Montreal: Canadian Center for Architecture - IRHA, 2008), co-edited with France Vanlaethem and Alexis Sornin.
    • • “Paysage urbain : genèse, représentations, enjeux contemporains,” special issue of Strates – Matériaux pour la recherche en sciences sociales 13 (2007), co-edited with Frédéric Pousin.
    • • Politiques éditoriales et architecture “moderne”. L’émergence de nouvelles revues en France et en Italie (1923-1939) (Paris: Éditions Arguments, 2002)

     

    Paolo Scrivano is Associate Professor of History, Theory and Criticism of Architecture in the Department of Architecture at Xi’an Jiaotong-Liverpool University. He holds a PhD degree in architectural history from the Politecnico di Torino and has taught at the Politecnico di Milano, the University of Toronto, and Boston University. He has authored numerous publications on 20th-century architecture and has been the recipient of several grants and fellowships from institutions such as the Canadian Centre for Architecture, the Center for Advanced Studies in the Visual Arts, the Social Sciences and Humanities Research Council of Canada, and the Australian Research Council. 

    Main publications:

    • • Building Transatlantic Italy: Architectural Dialogues with Postwar America (Farnham - Burlington, Vt.: Ashgate, 2013).
    • • “Intersection of Photography and Architecture,” monographic issue of Visual Resources: An International Journal of Documentation 27:2 (June 2011), co-edited with Maria Antonella Pelizzari.
    • • “Experimental Modernism,” monographic issue of Architecture and Ideas/Architecture et idées VIII/1 (2009), co-edited with Réjean Legault and David Monteyne.
    • • Olivetti Builds: Modern Architecture in Ivrea (Milan: Skira, 2001), co-authored with Patrizia Bonifazio [Italian edition: Olivetti costruisce. Architettura moderna a Ivrea (Milan: Skira, 2001)].
    • • Storia di un’idea di architettura moderna. Henry-Russell Hitchcock e l’International Style (Milan: FrancoAngeli, 2001).

    Les articles seront soumis à travers la plateforme en ligne de la revue: clararevue.ulb.be

    Les articles auront une longueur comprise entre 25 et 40.000 signes (espaces, notes, bibliographie, liste des illustrations et note biographique compris, y compris également le résumé).

    Les auteur-e-s potential-le-s peuvent contacter les rédacteurs invites (helene.janniere[at]univ-rennes2.fr; paolo.scrivano[at]xjtlu.edu.cn) et/ou le directeur  de la revue (axel.fisher[at]ulb.ac.be) avant d’entreprendre une soumission, afin de verifier la pertinence de leur proposition, et ce jusqu’au 31 août 2017.

  • Luminarts Cultural Foundation Architecture Fellowship

    Chicago | Dates: 27 – 31 Jul, 2017

    The Architecture Fellowship of the Luminarts Cultural Foundation is pleased to award one $5,000 Luminarts Fellowship for excellence in architectural design work. This opportunity is offered in conjunction with the Chicago-Midwest Chapter of the Institute of Classical Architecture & Art. Consequently, proposals that demonstrate the candidate’s greatest potential for contribution to the continuum of Classical design will be most strongly considered. Awardees will be invited to attend all Chicago-Midwest ICAA programming and events – educational and social – over the course of one year, free of charge. Once an individual has been designated a Luminarts Fellow, they are eligible to apply for further Fellow Project Grants through the Foundation. Awardee will receive notice of their fellowship on or before August 15th, and will be honored with a public presentation at the ICAA’s Acanthus Awards ceremony on November 18, 2017.

    Eligibility

    Applicants must meet the following eligibility requirements:

    1. Be between the ages of 18 and 30 years old on the date of application;
    2. Be currently enrolled in, or have completed, a degree program, or other professional architect development program;
    3. Live within 150 miles of the Chicago Loop.

    Submission Guidelines

    Four components must be included with each application. These include:

    1. An edited portfolio including no more than three (3) examples of your work, each project formatted to one 8-1/2×11” (portrait or landscape) page, with as much or as little descriptive text included on the page as you deem warranted. The portfolio should be submitted as a single, 3-page document. No cover or title page is necessary.
    2. A career statement outlining your objectives in the realm of architecture, how becoming a Luminarts Fellow would help support those objectives, and how you envision your talents impacting the greater Chicago community. This statement may not exceed 600 words.
    3. Two professional reference letters. This letter should include the name and contact information of your reference.
    4. A current Curriculum Vitae (1 page maximum).

    Each component should be submitted in PDF format, via email addressed to: luminarts@classicistchicago.org. Filenames shall be composed in the following format: current year, first initial & last name of applicant, and document title (e.g. “2017-JDoe-portfolio.pdf”). Submissions must be received by Monday, July 31st at 11:59pm.

    While applicants may reapply to the Luminarts Fellowship annually, they are only eligible to receive the Fellowship award once.

    For questions about eligibility or more information about the Fellowship visit our FAQs page on the website (http://luminarts.org) or contact Luminarts directly at info@luminarts.org.

  • HASTAC 2017: "The Possible Worlds of Digital Humanities"

    Orlando | Dates: 03 – 04 Nov, 2017

    The Florida Digital Humanities Consortium is the host for HASTAC 2017! The conference will be held in Orlando, Florida, November 3-4, 2017. The UCF Center for Emerging Media and the newly renovated Downtown Marriott will be the venue for this conference.

    Attendee registration for HASTAC 2017 is now open and the conference hotel, the Marriott Downtown Orlando, is taking reservations.

    Our plenary speakers are an exceptional group of scholars! The Friday panel includes Purdom Lindblad, Assistant Director of Innovation and Learning at MITH, Tressie McMillan Cottom, assistant professor of sociology at Virginia Commonwealth University, and T-Kay Sangwand, librarian for UCLA’s Digital Library Program. The panel will be moderated by Anastasia Salter, assistant professor of Digital Media at the University of Central Florida. Saturday’s final session will feature HASTAC’s own Cathy N. Davidson, from CUNY. The sessions surrounding these will include roundtables, soapbox talks, demos, maker sessions, workshops, media art projects, and posters.

    The HASTAC 2017 Conference affirms, along with the HASTAC network itself, its commitment to an open, equitable, and inclusive environment at our conference. In a recent blog post, the HASTAC leadership stated that we “are committed to advancing equity, inclusion, innovation, and interdisciplinarity in higher education. We celebrate the creative and powerful thinking that results when we work together across all kinds of difference.” For the full post see https://www.hastac.org/blogs/superadmin/2017/02/01/affirming-core-values-hastac-and-futures-initiative. We are also are committed to having a harassment-free event. Please see our policy statement.

    We are committed to working with presenters and attendees alike on any travel challenges which occur in regards to attending the conference, and our goal is to have an accessible, inclusive environment.

    Our preliminary schedule includes:

    Friday, 3 November 2017:

    7:00am-8:00am Breakfast (included in registration cost)
    8:15am-8:30am Welcoming Remarks
    8:30am-9:45am Opening Plenary Panel
    10:00am-12:15pm Sessions
    12:15pm-1:30pm Hot Buffet Lunch (included in registration cost)
    1:45pm-5:30pm Sessions
    7:30pm-10pm Reception

    Saturday, 4 November 2017:

    7:00am-8:00am Breakfast (included in registration cost)
    8:15am-12:00pm Sessions
    12:00pm-1:30pm Hot Buffet Lunch (included in registration cost)
    1:45pm-4:00pm Sessions
    4:15pm-5:45pm Closing Plenary and Closing remarks

    We look forward to an outstanding conference this year and please contact us with any concerns or issues.
    Bruce Janz, Conference Director, University of Central Florida
    Amy Giroux, Managing Director, University of Central Florida

    Program Committee
    Abby Scheel, Co-chair, Florida State University
    Micah Vandergrift, Co-chair, Florida State University
    Theresa Burress, New College
    Scot French, University of Central Florida
    Hélène Huet, University of Florida
    Barbara Lewis, University of South Florida
    Lillian Manzor, University of Miami
    Anastasia Salter, University of Central Florida
    Rachel Walton, Rollins College

  • ACADEMIA XXII -16 / MEMORY. A multidimensional strategic concept for sustainable development policies?

    Mexico City | Dates: 07 – 07 Oct, 2017
    ACADEMIA XXII. Research Journal published by the Faculty of Architecture, UNAM, México
    Memory. A multidimensional strategic concept for sustainable development policies?
    Num. 16, December 2017

    Think of sustainability as an ethical political way of inhabiting the planet in which the alliance of nature and culture is strengthened from the reorientation of the potential of science and technology, construction of new economic strategies and the renewal of a political culture defined by values, beliefs, possessions and knowledge of environmental priority. What strategic role plays or can memory play? Which are the limits and limitations of science invention of Memory when constructed as a concept, matter and imaginary process within academic walls? Who have the right to name and who doesn´t? are some of the “host” questions that invite to rethink historical and historiographical critical models, heritage and cultural studies, the approaches to traditional technologies, etcetera, as actual and potential strategic mediators for the creation and enforcement of development policies on local, regional and global issues.

    Pensemos sustentabilidad como una forma político ética de habitar el planeta en la cual la alianza naturaleza-cultura se fortalece a partir de la reorientación de los potenciales de la ciencia y de la tecnología, de la construcción de nuevas estrategias económicas y de la renovación de una cultura política definida por valores, creencias, pertenencias y saberes hacia una diversidad medioambiental. ¿Qué papel estratégico juega o puede jugar la memoria? ¿cuáles son los límites y las limitantes de la invención científica de la Memoria, cuando se construye como concepto, materia, proceso e imaginario al interior de los nichos académicos? ¿en las estrategias de acción a partir de la memoria, quiénes tienen el derecho de nombrar? son algunas de las preguntas “anfitrionas” de éste número que invita a reflexionar sobre la multidimensionalidad de los estudios históricos e historiográficos, patrimoniales, culturales y de tecnologías tradicionales, entre otros, como reales y potenciales mediadores estratégicos en la creación e implementación de políticas para el desarrollo local, regional y global actuales.
  • Historic Preservation Education Foundation - Partners in Training Call for Proposals

    Dates: 23 Jul – 03 Oct, 2017
    The Historic Preservation Education Foundation (HPEF) is currently accepting proposals for the Fall 2017 round of its Partners in Training initiative. HPEF established Partners in Training in 2014 to support training opportunities on topics associated with preservation technology. Partners in Training seeks to replicate the success HPEF has enjoyed working with other institutions and organizations in the past.

    HPEF invites educational institutions and nonprofit organizations based in the United States to submit training proposals that address specialized topics associated with the technical aspects of preservation projects. For grant recipients, HPEF’s contribution may include administrative as well as initial financial support. Administrative support can include participation in event planning, registration functions, and, as appropriate, assistance in online or print publication of materials prepared for the initiative. Initial financial support includes seed money to fund initial tasks. Grant recipients will assume all other responsibilities including marketing; coordination of onsite aspects associated with the venue; project budget; and staffing.

    The deadline for submissions is October 3, 2017. Grant recipients will be announced on/around December 1, 2017.

    Additional information can be found on the HPEF website: www.hpef.us or by writing info@hpef.us.
  • The Evolution of Oak Park Coach Houses

    Oak Park | Dates: 24 – 24 Sep, 2017
    The Pleasant Home Foundation is pleased to announce a tour of eight coach houses in Oak Park, many of which are open to the public for the first time. This interior, docent-led tour will cover uniquely designed spaces adapted for modern reuse. Guests will view coach houses that have been transformed into a music studio, party room, art museum, residence and more. Additionally, an antique automobile will be featured at each location for viewing (weather permitting).
    The event includes a complimentary tour of Pleasant Home, designed in 1897 by Prairie School Architect George W. Maher. The 4.43 acre estate, now a public park, originally included several structures which were razed over 50 years ago, including a conservatory, sculptured fountain, tennis court and, of course, a magnificent coach house. Historic photos of the grounds and structures will be available for viewing.
    The tour will take place from 10:00 a.m. – 3:00 p.m. on Saturday, September 24. Registration begins at 9:00 a.m. at Pleasant Home, 217 Home Avenue, Oak Park, Ill. Tickets may be purchased in advance or at the door; ticket cost is $40.00 for members and $45.00 for non-members.
    Proceeds from the tour will benefit the Pleasant Home Foundation and its work to preserve, restore, and operate Pleasant Home.
    For more information on the tour, please visit pleasanthome.org. Interior photographs of the coach houses are available upon request.
    ---
    About the Pleasant Home Foundation
    Pleasant Home, a National Historic Landmark, is also known as the John Farson House and is located in the heart of historic Oak Park, Illinois. The residence was designed in 1897 by Prairie School architect George W. Maher for investment banker and philanthropist John W. Farson. The Pleasant Home Foundation was established as a non-profit organization in 1990 and is dedicated to preserving and restoring this 30-room architectural treasure.
  • CFP: Material Culture (Indianapolis, 28-31 Mar 18)

    Indianapolis | Dates: 20 Jul – 01 Oct, 2017

    Material Culture

    CALL FOR PROPOSALS: PANELS AND PAPERS

    The Material Culture Area of the PCA/ACA (Popular Culture Association & American Culture Association) invites proposals for papers to be presented at the 2018 National Conference in Indianapolis, Indiana, March 28-31, 2018.

    DEADLINE: 1 OCTOBER 2017

    The study of material culture offers an exciting area for interdisciplinary research and conversation, as it brings together those engaged in scholarly inquiry in areas as diverse as history, art history, design, decorative arts, cultural studies, consumer studies, literature, communications, anthropology, sociology, and beyond. Of particular interest are papers that address human-made material objects as primary source material for anthropological, geographical, sociological, historical, or area studies; papers that refer to contexts of various sorts in order to determine the origins, functions, or uses of human- made material objects; or methodological papers that theorize and critique “material culture” as a discipline for humanistic inquiry.

    Past presentations in this area have focused on decorative arts and the construction of literary characters; the material culture of poverty; commemorative items; historic and modern furnishings; fashion, branding, and marketing trends; manufactured homes and representations of the translocal… even the design of airport shopping “malls”! Professional academics, graduate students, museum professionals, and independent scholars are all encouraged to apply.

    Considering proposals for sessions organized around a theme, special panels, and/or individual papers. Sessions are scheduled in 1½ hour slots, typically with four papers or speakers per standard session. Presentations should not exceed 15 minutes. Proposals should take the form of an abstract of up to 250 words and must be submitted electronically by 1 October 2017. To submit your proposal, go to https://conference.pcaaca.org / and follow the instructions for creating an account. All submissions must be made through the conference submission site.

    For additional information about the PCA/ACA and its annual conference, visit http://pcaaca.org/national-conference/.  Please be sure to select “Material Culture” as the area to which you submit your abstract. Questions or concerns may be sent via email to the Area Chair for Material Culture,

    Heidi C. Nickisher, Ph.D. School of Art -- Art History
    College of Imaging Arts & Sciences | RIT 73 Lomb Memorial Drive
    Rochester, NY 14623-5603
    Office: 585.475.4996 | fax: 585.475-6447

  • EAUH 2018 - Urban Renewal and Resilience: Cities in Comparative Perspective

    Rome | Dates: 20 Jul – 05 Oct, 2017

    EAUH 2018 welcomes paper proposals for the conference sessions.

    To submit a paper proposal, registration is required. Paper proposals and full texts can only by submitted online, via the EAUH2018 website https://eauh2018.ccmgs.it/users/. If sent by post or email will not be accepted.

    Abstracts of paper proposals should not exceed 450 words.

    Start of paper proposals submission: June 1, 2017

    Deadline for paper proposals submission: October 5, 2017

    Notification of paper acceptance: December 1, 2017

  • WRIGHT there - Exhibition / Sale

    New York | Dates: 20 – 29 Jul, 2017

    WRIGHT there
    lithographs from 1910 Wasmuth folio and
    limited edition prints(1977 & 1980) of drawings from Taliesin archives -Exhibition / Sale

    On view from Thursday July 12-29, 2017
    SPACED:   Gallery of Architecture
    542 Cathedral Parkway (W.110 St- near #1 subway)
    For hours or appointment: (212) 787-6350    jyorknew@verizon.net
    RECEPTION:Saturday July 15& 29 2-5 PM Wednesday July 26 4-8PM
    Thursday July 13 & 20 -4 to 8 PM    
    Judith York Newman- Architect/Director

    A visual journey to the many architectural creations over an amazing span of 56 years beginning in 1901 in Chicago.

    This exhibition  and sale covers a full range of Wright’s career in two formats. The Wasmuth Folio considered an aesthetic treasure trove of the earlier work is a valuable collection of lithographs. Subtle line drawings in brown, gray and even gold ink are convincing evidence of the impact of the Japanese print on Wright’s work. Not only is there a similarity in the sensibility of the design but the composition including the views and placement are strikingly similar.Historic woodcuts from Kyoto are on view as is dinnerware designed for the Imperial Hotel in Tokyo.

    Also apparent is the wide geographic scope of Wright’s work from the early Prairie Houses in Illinois to architecture in Buffalo, Wisconsin, Arizona,  Montana and California. These  color prints are from the Selected Drawings Portfolios.

  • New Buildings in Old Cities: Reconsidering Context in Historic Settings

    Chicago | Dates: 10 – 10 Aug, 2017
    "New Buildings in Old Cities: Reconsidering Context in Historical Settings"  There is an ongoing debate within the preservation and design communities about the most appropriate way to make additions to historical structures or new infill construction in historic districts.  Official regulations like the Secretary of the Interior's Standards for Rehabilitation ask that new work be both "differentiated" and "compatible," but responses to these criteria have varied from close imitation of pre-existing buildings to designs featuring forms and materials in marked contrast to the older ones.  What are the most appropriate approaches that maintain the historic character of a place without unduly limiting the judgement of contemporary designers?  This lecture will suggest some answers based on current international guidance for historic preservation and urban conversation.
  • VRA Foundation Internship in Visual Resources and Image Management

    Dates: 20 Jul – 18 Aug, 2017
    The Visual Resources Association Foundation (VRAF) is pleased to invite applications for the fifth VRAF Internship in visual resources and image management. This internship is generously funded by the Samuel H. Kress Foundation.
  • “Carlo Marchionni and the Art of Conversation: Architectural Drawing and Social Space in Eighteenth-Century Rome.”

    New York | Dates: 03 – 03 Nov, 2017
    Lecture by Tracy Ehrlich
    Friday November 3rd at 1pm

    Lower Level Lecture Hall
    Cooper Hewitt Smithsonian Design Museum
    2 East 91st Street
    New York
  • BITÁCORA 37 / E.R.R.O.R.

    MEXICO DF | Dates: 18 Jul – 01 Aug, 2017
    In contemporary capitalist societies, to err has a negative connotation and is punished. Inevitable as it may be, error cannot be tolerated in the standardized systems of production implemented during the Industrial Revolution. Norms, laws, and other principles regulating human behavior prevent any deviation. However, in studying the history of architecture, it is impossible not to observe that it was precisely the deviations from norms that allowed our discipline to respond to the social and cultural changes occurring in the real world. Without transgressions to the dictates of the academic dictates of the 19th century, the avant-garde and the modern movement could have never existed. Architecture, city, public space, and objects necessary for the survival of modern societies are the result of paths considered erroneous from a conservative point of view.

    The scientific mindset of modernity created the illusion –which today we continue to blindly revere– of any design project; that is to say, a representation of an object completely separated from the world and which we believe, with certain ingenuity, will exist in all its perfection in reality thanks to our obsessive control. In the design project error has no place. When any design project is brought to existence, we inevitably find errors that result from its the contact with the world in which we live. Architecture, urbanism, or design are based on methodical and accurate planning down to the millimeter, however, their built results are, to a greater extent, due to errors, uncertainties, and chance.

    To err also means to wander, to roam aimlessly, in order to, perhaps, discover new horizons. Is it possible for our disciplines to wander outside economic budgets, master plans, paper drawings, and computer renderings? This issue of BITÁCORA seeks to address one of the definitions of erring that can be considered as a virtue of thought, imagination, or attention. --- En las sociedades capitalistas contemporáneas el error tiene una connotación negativa y es castigado. Independientemente de que sea inevitable, la equivocación no se puede tolerar en la cadena de producción implementada a partir de la Revolución Industrial. Las normas, leyes y demás absolutos reguladores del comportamiento humano previenen cualquier desviación. Sin embargo, al estudiar la historia de la arquitectura es imposible dejar de observar que fueron precisamente las desviaciones de las normas las que permitieron que nuestras disciplinas respondieran a los cambios sociales y culturales ocurridos en la realidad. Sin las transgresiones a los dictados de la Academia del siglo XIX, las vanguardias y el movimiento moderno jamás hubiesen podido existir. La arquitectura, la ciudad, el espacio público y los objetos necesarios para la supervivencia de las sociedades modernas son resultado de caminos errados desde un punto de vista conservador.

    La mentalidad científica de la modernidad creó la ilusión –que hasta hoy veneramos ciegamente– del proyecto, es decir, una representación de un objeto completamente separada del mundo, que creemos con cierta ingenuidad, que existirá con toda su perfección en la realidad gracias a nuestro control obsesivo; en él, el error no tiene cabida. Invariablemente, al aplicar el proyecto a la realidad, observamos errores que son expresiones del contacto con el mundo en el que se actúa. La arquitectura, el urbanismo o el diseño se basan en la metódica y exacta planeación al milímetro, sin embargo, deben sus resultados en mayor medida a los errores, las incertidumbres y el azar.

    Errar también significa deambular, andar sin rumbo fijo para, tal vez, descubrir nuevos horizontes. ¿Es posible que nuestras disciplinas divaguen fuera de presupuestos económicos, del proyecto ejecutivo, del dibujo en papel, de las imágenes en las pantallas? En este número de BITÁCORA buscamos reflexionar al respecto de una de la definiciones del errar en la que se le considera una virtud, del pensamiento, de la imaginación o de la atención.
  • Affective Architectures | CFP: Edited Book Collection

    Dates: 17 – 17 Sep, 2017
    A growing literature at the interface of cultural geography and heritage studies theorizes the significance of affect in shaping embodied encounters at ‘places of memory’ (see Sturken 1997 and 2007; Landsberg 2004; Williams 2007; Crang and Tolia-Kelly 2010; Doss 2010; and Sather-Wagstaff 2011 on affect in heritage; and Hoelscher and Alderman 2004; Johnson 2005; Jones 2005; Till 2005; 2006; Legg 2007; Dwyer and Alderman 2008; Hoskins 2007; Azaryahu and Foote 2008; Rose-Redwood, Alderman, and Azaryahu 2008; Hoelscher 2008; and Stangl 2008, on geographies of memory). Moving beyond representational conventions, this scholarship marks an important shift towards the ‘more-than-representational spaces’ (Thrift 2004; Thien 2004; Bondi 2005; Anderson and Harrison 2006; Lorimer 2008) of contemporary memorial design (Heumann Gurian 1995; Yanow 1998; Vergeront 2002; Huyssen 1994 and 2003; Waterton 2014).

    In the late 19th and early 20th Centuries, for instance, dominant modes of memorialization relied heavily on monumentality. This aesthetic and mnemonic genre served to preserve historical memory in place (see Nora 1989). Limits to monumentality came, however, in that as an immobile, static, manifestation of collective memory within the landscape, monumentality did the work of cultural remembering on its own (see Young 1994). Put otherwise: why remember if we have places that do it for us? As monuments became graveyards of collective memory over time, places for memory to live and die, the late 20th Century developed new memorial aesthetics favoring ‘anti-monumentality’ (see Carr 2003).

    Breaking with the rules of traditional memorial design, including figuration, iconography, and doctrinal elements, the anti-memorial favors abstract, spatial, and experiential elements of memorial architecture. This trend prioritizes spatiality and the affective dynamics of memorial design in creating embodied experiences for visitors. As the scholarship acknowledges:

    "Even as background, spaces are evocative. They speak to us. … The settings we inhabit—bedrooms and buses, airports and art galleries playgrounds and pubs, museums and mosques—shape us as much as we shape them" (Vergeront 2002: 8 and 12).

    "Built spaces are at once storytellers and part of the story being told. As storytellers they communicate values, beliefs, and feelings using vocabularies of construction materials and design elements. … In this way [museum] spaces are both medium and message" (Yanow 1998: 215).

    "[T]hinking about the spaces of heritage means shifting from the static ‘site’ or ‘artefact’ to questions of engagement, experience and performance. … These are all multi-sensual sites, alive with intense and often lingering sounds, smells, and sights" (Waterton 2014: 824 and 830).

    Although monumentality has never been fully abandoned in western practices of memorialization, this shift towards 'affective heritage' (Micieli-Voutsinas 2016) has become commonplace in post-modern memorial architecture (see Heumann Guriun 1995; Linenthal 1995; Huyssen 2003; Savage 2009).

    Unlike its mnemonic predecessors, affective heritage relies less on authoritative narratives and official rhetoric to shape and sustain meaning at commemorative sites. In affective heritage, the impetus is for visitors to feel meaning as it is produced through embodied encounters with and within memorial spaces. As Waterton understands,

    "[N]arratives of affect are mediated in affective worlds that shape their receptions, tapping into everyday emotional resonances and circulations of feelings… … which means understanding heritage as a complex and embodied process of meaning- and sense-making" (2014: 824).

    This is not to say that institutional narratives are irrelevant to, or ineffective in shaping visitor expectations. Rather, affective heritage mobilizes embodied experiences in relation to memorial dogma to produce a kind of ‘feeling truth’ for visitors. This is especially true at sites commemorating traumatic pasts. Here, the more-than-representational spaces of memorial and museal landscapes are vital to representing that which is 'unrepresentable' and unknowable: trauma itself (see Freud (1920-22) 1955; 1939; Felman and Laub 1992; Caruth 1995; 1996; Brown 1995; LaCarpa 1996; 2001).

    This call for papers seeks to assemble a conversation among critical scholars interested in more-than-representational ways of engaging with places of memory and memorialization. Paper contributions grounded in theoretical, methodological, and experiential approaches are welcome. Some themes include, but are not limited to:

    ~ heritage architectures
    ~ performativity and spatial narratives
    ~ critical museum studies and space
    ~ hauntings, ghosts, and deathscapes
    ~ thanatourism and heritage economies
    ~ navigating emotion, embodiment, and subjectivity
    ~ methodological approaches
    ~ ethical dilemmas

    Submissions: Please submit expressions of interest outlining your proposed paper in no more than 350 words by email to Jacque Micieli-Voutsinas (jmicielivoutsinas@clarku.edu) and Angela M. Person (a@ou.edu) before September 17th 2017. Accepted manuscripts will be due by July 2018 and should be no more than 6000 words, including references and notes.
  • SESAH Lynchburg - Annual Meeting

    Lynchburg | Dates: 11 – 14 Oct, 2017
    In 2017, the Southeast Chapter of the Society of Architectural Historians will gather in Lynchburg, Virginia, for our annual conference, October 11-14.

    The conference program of plenaries, papers, and tours is set against a backdrop of seasonal color in the foothills of the Blue Ridge Mountains and within a vibrant architectural landscape rising on the city’s hills. The buildings of Lynchburg represent every architectural style from Federal to Mid-Century Modern, and every historical period from the colonial era through the Civil War to contemporary times. There are four historic districts in downtown alone, and a fifth listed for the importance of those who lived there, notably Harlem Renaissance poet and activist Anne Spencer.

    The Holiday Inn on Main Street, in the heart of the historic downtown, will be the venue for the paper sessions and addresses. A signature event of the conference will be a private tour and dinner at Thomas Jefferson’s Poplar Forest.

    Conference attendees may select accommodations from blocks of reserved rooms in two downtown hotels, including our conference headquarters at the Holiday Inn. Accommodations must be booked by early September.

    For more information, visit www.sesah.org.
  • Ninth Annual Anne d’Harnoncourt Symposium THE MUSEUM AND THE CITY

    Philadelphia | Dates: 08 – 09 Sep, 2017
    Co-organized by the Philadelphia Museum of Art and the Department of the History of Art, University of Pennsylvania

    September 8-9, 2017

    Anne d’Harnoncourt, director of the Philadelphia Museum of Art from 1982 to 2008, believed passionately that museums must be active global and local citizens. This conference will bring together important museum leaders, civic leaders, artists, and architects to discuss how museums can serve the vibrant and diverse civic life that we want in the 21st century. Keynote address by Tod Williams and Billie Tsien. (Tickets required for Keynote) For more information and to register, visit: https://www.sas.upenn.edu/arthistory/events/ninth-annual-anne-dharnoncourt-symposium-museum-and-city
  • Call for Applications: Reviews Editor (pre-1800) for Architectural Histories

    Dates: 13 Jul – 31 Aug, 2017

    Architectural Histories is the online open access journal of the EAHN, published by Ubiquity Press. The Editorial Board of Architectural Histories seeks to appoint a Reviews Editor for publications and other research-based outputs covering the history of architecture and the built environment before 1800.

    The Reviews Editor is responsible for commissioning, developing and editing reviews for the journal. Taking full advantage of the rapid production cycle offered by an online open access publication, Architectural Histories aims to publish reviews which respond to the latest releases in the field and to widen the traditional scope of reviews, to include recent exhibitions and conferences relevant to histories of architecture.

    Working closely with the Editor-in-Chief and a counterpart Reviews Editor for the post-1800 period, the pre-1800 Reviews Editor identifies publications, exhibitions and conferences of interest and invites reviewers. After commission, the Editor oversees the writing and editing of each review, up to the point where it is ready for final copy-editing.

    The Editor is expected to deliver 5-10 reviews per year.

    The ideal candidate is well connected with scholars working on all aspects of pre-1800 architecture, and closely monitors the state of the field, with an eye to commissioning reviews that will stand out as lasting contributions to historical and historiographical debate. The Editor should be familiar with good practice in the commissioning and editing of reviews.

    This call is open to all scholars working on topics related to pre-1800 architectural history regardless of background, discipline or seniority.

    Indeed, applications from scholars working outside the traditional centers of scholarship are strongly encouraged. Applications should consist of a CV (max. 3 pages) and a cover letter specifying the candidate’s appropriate skills and qualities.

    Applications should be emailed to Petra Brouwer, Editor-in-Chief (editor-in-chief@eahn.org), and received no later than 31 August 2017.

    The new Reviews Editor will be appointed on 1st October 2017 for a four-year term.

  • CFP: TAD Volume 2 Issue 1

    Dates: 13 Jul – 01 Aug, 2017
    For Technology | Architecture + Design's first OPEN issue, the editors seek original research from scholars, practitioners, architects, scientists, and engineers who engage with technology, architecture, and design. Deadline: August 1, 2017 
  • CFP: JAE Volume 72 Issue 1

    Dates: 13 Jul – 01 Aug, 2017
    Issue 72:1 of the Journal of Architectural Education seeks Design as Scholarship and Micro-Narratives that critically examine and expose the project and projection of architecture as a tool for thinking. Please note, this issue is not accepting scholarship of design. Deadline: August 1, 2017
  • Driehaus Symposium: Human Perception & The Built Environment

    Chicago | Dates: 30 – 30 Sep, 2017
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    For more information, please visit www.driehausfoundation.org.
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SAH thanks The Richard H. Driehaus Foundation Fund at The Chicago Community Foundation for its operating support.
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