Recent Opportunities

  • An In-Depth Look at Pierre Chareau

    New York | Dates: 08 Mar, 2017
    Join Esther da Costa Meyer for an in-depth look at the French designer and architect Pierre Chareau (1883–1950) at the Jewish Museum. Organized by da Costa Meyer, Pierre Chareau: Modern Architecture and Design is the first U.S. exhibition focused on the internationally recognized designer and showcases more than 180 rarely-seen works from major public and private collections in Europe and the United States. 
  • DEADLINE EXTENDED: Sequitur - BU Graduate Student Art History Journal

    Dates: 11 – 17 Feb, 2017
    Sequitur Issue 3:2 Spring 2017 CFP: Oops! Extended Deadline: February 17 The editors of SEQUITUR, a graduate journal published by the Department of History of Art & Architecture at Boston University, invite current graduate students in art history, architecture, fine arts, and related fields to submit content for our Spring 2017 issue titled Oops! This issue will explore works of art and architecture that emerge from mistakes, failures, and revisions. We invite submissions that reflect on the creative process and its various unintended outcomes, such as happy accidents, unanticipated triumphs, disastrous miscalculations, good-faith errors, and careless blunders. Although history tends to ignore “oops!” moments in favor of successful ends, we seek submissions that find value in the unpredicted. Possible subjects may include (but are not limited to): unfinished artworks and unrealized architectural projects; heavily criticized exhibitions; building disasters and demolitions; revisitations and revisions of earlier projects; creative processes that invite elements of transformation, chance, and the unforeseeable; genres and movements that cultivate the accidental (such as Dada); techniques designed to undercut conscious intention (such as automatism); the processes of making and unmaking; public or critical failures; and unexpected successes. We also welcome proposals for research spotlights that discuss insights gained from research snafus or methodological mishaps. We encourage submissions that take advantage of the online format of the journal, such as multimedia proposals for essays and reviews and audio/visual interviews. We invite full submissions in a variety of genres, including: Featured essays (1000 words) Essays must be submitted in full by the deadline below to be considered for publication. Content is open and at the discretion of the author, but essays should present original material that is suitable to the stipulated word limit. Please adhere to the formatting guidelines available at: http://www.bu.edu/sequitur/submissions/styleguide/. Visual Essays offer opportunities for M.Arch. or M.F.A. students to showcase a selection of original work. The work must be reproducible in a digital format. Submissions should include .jpegs of up to ten artworks, and must be prefaced by an introduction or artist’s statement of 250 words or less that connects these objects to our theme. All images must be captioned and should be at least 500 DPI. We invite proposals (200 words max) for the following pieces (Note: Reviews of any type are not required to adhere to the issue’s theme): Exhibition reviews (500 words) Exhibitions currently on display or very recently closed are especially sought. Book or exhibition catalogue reviews (500 words) Reviews of recently published books and catalogues are especially sought. Interviews (750 words) Preference may be given to those who can provide audio or video recordings of the interview. Field reports/Research spotlights (500 words) This is an opportunity for students conducting research to share their findings and experiences in a more casual format than a formal paper. All submissions and proposals are due February 17. Please direct all materials to sequitur@bu.edu. Text must be in the form of a Word document, and images should be sent as jpeg files. Please provide a recent CV. Please include “Sequitur Spring 2017” and type of submission/proposal in the subject line, and your name, institution and program, year in program, and contact information in the body of the email. Authors will be notified of the acceptance of their submission or proposal no later than February 25 for May 1 publication. Please note that authors are responsible for obtaining all image copyright releases prior to publication. If you have any questions, please do not hesitate to contact the SEQUITUR editors at sequitur@bu.edu. We look forward to receiving your proposals.
  • "Exploring Architectural Form: A Configurative Triad"

    Delft | Dates: 10 Feb – 01 May, 2017
    This issue of Footprint aims to explore the discussions that currently gravitate around the question of architectural form, by inviting architects to reflect on the latest developments in the field of formal studies within architectural and urban theory, design, research, and pedagogy. Footprint 22 aims to collect a comprehensive set of state-of-the-art approaches to the question of architectural and urban form, and thus provide an updated examination of formal, morphological and typological investigations. As editors, we welcome a broad spectrum of interpretations, ranging from theoretical and practical applications of form-based analyses, to epistemological and pedagogical implementations of these formal analyses in diverse contexts. Aware of the weight that form-centred theories have had in postmodern architectural research, and in order to establish a historical landmark for this edition, the emergence of neo-rationalism in the early 1960s will serve as a point of departure. However, we deem this a landmark that is meant to be superseded. The neo-rationalist aim to overcome the shortcomings of modernist functionalism by contesting the idea that a building’s form resulted from its use, certainly marked a shift within architectural theory, and favoured the emergence of a strain of architectural thinking that currently offers multiple and contradictory approaches to the way architectural form is generated, understood, and communicated. Beyond their neo-rationalist predecessors, architects and authors like Peter Eisenman, Fumihiko Maki, Nicolas Bourriaud, Carlos Martí Arís and Antonio Armesto, Mario Carpo, Pier Vittorio Aureli, and Sanford Kwinter, have more recently reclaimed important parts of the form-centred architectural discourse, with diverse intentions, and from different vantage points. Furthermore, multiple lines of inquiry which depart from the question of architectural form, still orient the production of knowledge in universities and institutes throughout the world, far beyond Western Europe, where neo-rationalism originated and thrived. Designers, scholars, researchers and teachers throughout the globe have found in the definition of a formal basis of architecture a valuable practical and intellectual tool, while morpho-typological approaches are still broadly used in architectural education. Within such a diversified field of studies, form-centred approaches to architecture have been severely criticised, especially for their reductive consideration of matter, with many contemporary theorists asking for a formal theory which resists taxonomies. With these antecedents in mind, we wish to examine architectural form today, from a threefold perspective. First, we would like to study the way in which form is produced, dealt with, or confronted by contemporary designers. Secondly, we would like to know how architects examine and study form in discursive (i.e communicative, theoretical, historiographical, but also representational) terms. Finally, we would like to evaluate the way in which innovative formal analyses affect architectural form at all scales within the built environment. Footprint 22 will follow a tripartite trajectory, advancing an understanding of formal studies which transverses ontological, epistemological and onto-epistemological perspectives. These perspectives directly correspond to the notions of morphogenesis, formalism and in-formation. Following this sequence, from an ontological perspective, morphogenetic studies deal with the processes in which matter actively co-produces its various formal expressions. Synchronously, formal discourse and morpho-typological studies function as an analytical tool for the examination of these processes. Both morphogenetic explorations and formalist approaches, while imperative for any formal study, do not suffice unless complemented with their intensive in-between: in-formation, or the way in which formal discourses and their outcomes influence form itself, and vice versa. We trust that by interrelating these three approaches, we can contribute to contemporary formal explorations by substituting an object-based approach with one that examines the reciprocity of formal emergence. Emulating Joseph Kosuth’s well-known triptychs, we aim to situate the question of architectural form in our time between a series of interpretations that transcend a supposed autonomy as well as a univocal cultural or epistemological origin. With these objectives in mind, we encourage various types of contributions. We welcome contributions consisting of full scientific articles that examine formal studies in pedagogy and research, critical reflections on the question of form in contemporary architecture, and theoretical and historiographical approaches that assess the formal discourse of architecture. In addition, we are expecting graphic and/or textually reasoned analyses of projects and buildings which suggest innovations in architectural form. Finally, we invite contributions in the form of review articles that critically reassess key literature related to this topic. Footprint #22 will be published in Spring 2018. Authors of full articles (6000-8000 words) are requested to submit their contributions to the editors before 1 May, 2017. Full articles will go through a double blind peer-review process. Review articles (2000–4000 words) and reasoned analyses (2000 words, 2 – 5 images) will be selected by the editors on the basis of a short summary (maximum 500 words) which must also be submitted before 1 May, 2017. All authors should include a short bio (300 words) with their submissions. We ask authors to refer to Footprint Author Guidelines, available at footprint.tudelt.nl. For submissions and inquiries, please contact editors Stavros Kousoulas and Jorge Mejía Hernández at fp22@footprintjournal.org.
  • SAH 73rd Annual International Conference

    Seattle | Dates: 29 Apr – 03 May, 2020
    Save the date!
  • SAH 72nd Annual International Conference

    Providence | Dates: 24 – 28 Apr, 2019
    Save the date!
  • CCA Visiting Scholars Program

    Montreal | Dates: 07 Feb – 31 Mar, 2017
    The CCA supports innovative, advanced research on the history, theory, and criticism of architecture and design from a broad interdisciplinary perspective. As a research centre and museum, the CCA emphasizes themes that are particularly relevant to current discourses on the built environment—contemporary design theory, media archaeology and digital processes of design and communication, transformation of the professional practice, environmental histories— but also other current cultural, social, economic, technological, and political issues. In order to strengthen a research-oriented collection, the CCA continues to acquire new material, including born digital projects. The Visiting Scholar Program therefore welcomes research projects that make use of the CCA Collection as a primary source, explore specific archives in depth, and produce critical and relevant (re)readings. The proposed projects should be original, significant and feasible. In recent years, the CCA has worked with scholars and professionals at various stages in their careers whose disciplinary background ranges from history and theory of architecture, the city and landscape, as well as anthropology, geography, sociology, literature, and philosophy to emerging digital technology. In addition to scholarly projects, the CCA welcomes applications from practicing architects, planners, urban designers, and landscape architects, other professionals active in critical practices related to the built environment, and cultural producers who are carrying out research on architecture from any disciplinary perspective. The general objective of the Visiting Scholar Program is to foster intellectual debate and nurture an exchange with the CCA as well as with the scholarly community in Montreal and internationally. We strongly encourage visiting scholars with research projects based on recent acquisitions to check and confirm availability with ref@cca.qc.ca before submitting their project proposals. Appointments are made through an open application and a selection process conducted by an international jury comprised of members both external and internal to the institution. Residencies are granted for periods of two months during the summer. Visiting Scholars receive research stipends, financial support to cover travel costs, a private office at the CCA, and administrative support as needed. They must relate their individual research projects to current initiatives at the CCA. During their residency, they pursue individual research projects and will present their individual research project in a public seminar series. Moreover, they are asked to participate in other CCA activities and to contribute content to the CCA website. The call for applications is now open. The deadline is March 31, 2017. Applications should be submitted through the CCA online application portal. We will notify the recipients and all applicants of their status in May 2017.
  • Edgar Miller’s Times: The Interwar Cultural Context of Edgar Miller’s Artistry

    Chicago | Dates: 09 – 09 Mar, 2017
    IV: Edgar Miller’s Times
    The Interwar Cultural Context of Edgar Miller’s Artistry
    Location: DePaul Art Museum, 935 W. Fullerton Ave.
    Date: Thursday, March 9th, 6:00pm

    Panelists:
    Zac Bleicher (Director - Edgar Miller Legacy)
    Jennifer Scott (Director - Jane Addams Hull-House Museum)
    Robert Bruegmann (Architectural Historian & Author)

    Registration is free.
  • Edgar Miller, The Artist: The Fine and Folk Art of Edgar Miller

    Chicago | Dates: 25 – 25 Feb, 2017
    III: Edgar Miller, The Artist
    The Fine and Folk Art of Edgar Miller
    Location: Arts Club of Chicago, 201 E. Ontario St.
    Date: Saturday, February 25th, 2:00pm

    Panelists:
    Zac Bleicher (Director - Edgar Miller Legacy)
    Rolf Achilles (Assistant Professor, Historic Preservation - SAIC)
    Lisa Stone (Curator, Roger Brown Study Collection - SAIC)
    Wendy Greenhouse, PhD (Art Historian)

    Registration is free.
  • SECAC 2017: VRA affiliate members CALL FOR PAPERS

    Columbus | Dates: 03 Feb – 20 Apr, 2017
    The theme of our proposed VRA affiliate session: “How can we help? Zooming in on new services that libraries and archives provide in the age of rich multi-media scholarly publishing and emerging technologies.” This session aims to address the way in which visual resources centers, libraries, and archives assist their respective departments in developing innovative new research methodologies. By presenting a range of case studies from selected academic institutions, we hope to highlight exciting digital projects that utilize rich multi-media primary sources.
  • 2017 George B. Tatum Annual International Conference Fellowship

    Glasgow | Dates: 03 Feb – 01 Mar, 2017
    2017 Application Instructions
    Deadline: March 1, 2017

    The Philadelphia Chapter of the Society of Architectural Historians’ George B. Tatum Annual Fellowship underwrites membership, travel and lodging expenses related to attending the Annual International Conference of the Society of Architectural Historians.  The Tatum Fellowship is open to graduate students and advanced undergraduates enrolled in architectural history and theory programs at colleges and universities located in the Greater Philadelphia region.  These include: Bryn Mawr College, Princeton University, Rutgers University, Temple University, University of Delaware, and the University of Pennsylvania.

    Preference is given to candidates who are not presenting papers at the conference, although the committee reserves the right to make the award to a candidate who is presenting.  Eligible expenses (up to $1,200.00 for 2017) will be reimbursed for travel, lodging and a one year student national membership, with basic registration fees contributed by the national organization.

    Applications are to be submitted by e-mail attachment to the Philadelphia Chapter SAH at info@philachapteresah.org no later than Wednesday, March 1, 2017. The fellowship recipient will be notified by April 1, 2017.

    Applicants must submit the following:
    •           Cover letter, not to exceed two pages, discussing their research interests, accomplishments to-date, and professional goals
    •           CV or resume
    •           Name and contact information for their advisor or principal professor

    The Award winner is required to give an informal program on their thesis/dissertation research, or another topic of interest, to the Philadelphia Chapter members within six months of the conclusion of the Conference.

    Questions?  Please contact William Whitaker, Chapter President and Chairman, George B. Tatum Annual Fellowship Selection Committee at wwhitake@design.upenn.edu or 215-898-8323.

    For details on the 2017 SAH Annual International Conference visit:
    http://www.sah.org/2017
  • For the Love of Farnsworth: A Celebration to Benefit Mies van der Rohe's Farnsworth House

    Dates: 18 – 18 Feb, 2017
    Exhibition Dates: 2.16.17 - 2.19.17
    Reception: Saturday,  February 18, 2017 | 6 - 10pm
    Matthew Rachman Gallery | 1659 W. Chicago Avenue, Chicago IL 60622
     
    Please join Matthew Rachman Gallery and the National Trust for Historic Preservation, as they collaborate on the return of a very special event, “For the Love of Farnsworth: A Celebration to Benefit Mies van der Rohe’s Farnsworth House.” The second annual fundraiser will be held from 6:00 PM - 10:00 PM at Matthew Rachman Gallery in Chicago’s Ukrainian Village. 

    The elegant evening will include libations from Chicago’s premier mixology boutique, SpritzOlogy, and craft beer from award winning Naperville brewery, Solemn Oath, as well as mouth-watering small plates and desserts from talented local chefs at Jordan’s Food of Distinction. The evening will also feature a short address by Mary Lu Seidel, Chicago Field Director for the National Trust for Historic Preservation, and a brief discussion led by Guests of Honor, Chicago-based artistic duo, Luftwerk. 

    The gallery will exhibit a specially-curated collection of artwork (at which ten percent of all art sales throughout the duration of the exhibition will directly benefit the Farnsworth House), silent auction items, and musical performances by original composer Owen Clayton Condon. 

    Tickets are $95.00 per individual, or $175.00 per couple, and can be purchased at www.farnsworthhouse.org/for-the-love-of-farnsworth. Proceeds from tickets sales directly benefit the Farnsworth House. 

    If you are unable to attend, but would like to learn more about the Farnsworth House, or to make a donation in your absence, please visit farnsworthhouse.org or savingplaces.org

    Specially-curated artwork will hang in the gallery February 16 - 19, 2017.
  • CFP: The American School of Architecture: Building on the Plains 1947-67

    Norman | Dates: 02 – 13 Feb, 2017
    The Fred Jones Jr. Museum of Art at the University of Oklahoma will host an exhibition
    on the American School of Architecture in the spring of 2019. We invite scholarly
    contributions to the exhibition catalog. Please submit an abstract of 400-500 words and
    a C.V. to Stephanie Pilat and Luca Guido by Monday, February 13th, 2017. Decisions
    will be made by Friday, March 17th. Final papers of 4,000 – 8,000 words will be due by
    August 1st, 2017. Papers from accepted abstracts will undergo peer-review before
    publication.

    “A new school, probably the only indigenous one in the United States” is how the
    architect Donald MacDonald once characterized the school of architecture that
    developed under the guidance of Bruce Goff and Herb Greene at the University of
    Oklahoma in the 1950s and ‘60s. At the time, architecture schools in the United States
    followed a curriculum inspired by either the French Beaux Arts school or the German
    Bauhaus school. On one hand, the French model centered on studies of classical
    principles of design and entailed meticulous copying of the great classical architecture of Greece and Rome. On the other hand, schools such as the Illinois Institute of
    Technology and the Harvard Graduate School of Design adapted the Bauhaus
    curriculum model—known for embracing industry and abstraction in art, architecture and design—to the American context. Only the curricular experiment started by Goff at the University of Oklahoma stood apart from these two trends: it was an original and
    authentically American approach to architecture and pedagogy.

    Under the leadership of Bruce Goff (1904-82), Herb Greene (b. 1929), Mendel
    Glickman (1895-1967), and many others, OU faculty developed a curriculum that
    emphasized individual creativity, organic forms, and experimentation. As MacDonald
    described, there emerged “a truly American ethic, which is being formulated without the
    usual influence of the European or Asian architectural forms and methodologies
    common on the East and West coasts of the United States.” Indeed, the faculty rejected the rote copying of historical styles as well as the abstract minimalist approach popular elsewhere. Students were taught to look to sources beyond the accepted canon of western architecture and to find inspiration in everyday objects, the natural landscape, and non-western cultures such as the designs of Native American tribes of Oklahoma and the Western plains. This rejection of existing pedagogical models in favor of experimentation reflected Goff’s own training. He was never formally educated in architecture; rather he learned architecture by doing it, having started in practice at the age of 12. As Frank Gehry describes, “Bruce Goff suffered the shadow of Uncle Frank [Lloyd Wright], but pushed the frontier forward and extended Wright’s legacy. He was an American. Like Wright he was the model iconoclast, the paradigm of America. He was of the American conscience, the antidote to Gropius’s pontifical European presence; one of the roads to an American architecture…” This radical approach to design drew students to Oklahoma from as far away as Japan and South America and later spread the American School influence to their practices in California, Hawaii, Japan, and beyond.

    We invite papers on all aspects of the American School and its legacy including: the
    work of individual architects (see list below); the curriculum and pedagogical approach;
    related developments in other artistic disciplines such as painting, sculpture and
    decorative arts; and the ways in which the American School has influenced
    contemporary architects such as Frank Gehry and Michael Reynolds. Interested
    scholars may request access to the research teams’ bibliography, archival guide and
    materials including interviews with architects of the American School.

    For more information contact: Stephanie Pilat, Ph.D., Director of the Division of
    Architecture at the University of Oklahoma at: spilat@ou.edu.

    Architects may include:
    Edward R. Aotani
    Violeta Autumn
    John Davis
    Arthur Dyson
    Robert L. Faust
    Harvey Ferrero
    Bruce Goff
    Herb Greene
    James A. Gresham
    Varouj Z. Hairabedian
    Arn Henderson
    Blaine Imel
    Takeo Ito
    Michael P. Johnson
    Arthur Kohara
    Takenobu Mohri
    G.K. “Mickey” Muennig
    William Murphy
    Shizuo Oka
    Robert K. Overstreet
    Bart Prince
    W. Arley Rinehart
    Rex Slack
    William R. Stover
  • Tsakopoulos Hellenic Collection Library Research Fellowship Program, 2017-2018

    Sacramento | Dates: 02 – 24 Feb, 2017
    Thanks to generous ongoing funding from the Elios Charitable Foundation and additional funding from the Tsakopoulos Hellenic Foundation, the University Library at California State University, Sacramento is pleased to announce the continuation of the Library Research Fellowship Program to support the use of the Tsakopoulos Hellenic Collection by fellows for scholarly research in Hellenic studies while in residence in Sacramento, CA. The Program provides a limited number of fellowships ranging from $1,000 to $4,000 to help offset transportation and living expenses incurred during the tenure of the awards and is open to external researchers anywhere in the world at the doctoral through senior scholar levels (including independent scholars) working in fields encompassed by the Collection’s strengths who reside outside a 75-mile radius of Sacramento. The term of fellowships can vary between two weeks and three months, depending on the nature of the research, and for the current cycle will be tenable from July 1, 2017-June 30, 2018. The fellowship application deadline is February 24, 2017. No late applications will be considered.
     
    Consisting of the holdings of the former Speros Basil Vryonis Center for the Study of Hellenism, the Tsakopoulos Hellenic Collection is the premier Hellenic collection in the western United States and one of the largest of its kind in the country, currently numbering approximately 75,000 volumes. It comprises a large circulating book collection, journal holdings, electronic resources, non-print media materials, rare books, archival materials, art and artifacts. With its focus on the Hellenic world, the Collection contains early through contemporary materials across the social sciences and humanities relating to Greece, the Balkans, the Ottoman Empire and modern Turkey, and the surrounding region, with particular strengths in Byzantine, post-Byzantine, and Modern Greek studies, including the Greek diaspora. There is a broad representation of over 20 languages in the Collection, with a rich assortment of primary source materials. Since 2009 the collection has experienced particularly dramatic growth through two major gift acquisitions. For further information about the Tsakopoulos Hellenic Collection, visit http://library.csus.edu/tsakopoulos.
     
    For the full Library Research Fellowship Program description and application instructions, see: http://library.csus.edu/tsakopoulos/lrfp.asp.html. Questions about the Program can be directed to George I. Paganelis, Curator, Tsakopoulos Hellenic Collection (paganelis@csus.edu).
     
  • Call for Authors for History of Human Spaces Series

    Dates: 02 Feb – 01 May, 2017
    RESTAURANT and OFFICE
    History of Human Spaces series
    Praeger Publishing

    Praeger Publishing, an academic publisher, based in Santa Barbara, California (praeger.com<http://praeger.com/>) is seeking authors for two titles in our History of Human Spaces series. This series explores the history of spaces, both public and private, and the objects typically associated with those spaces. Each 70-80,000 word volume will utilize those objects and spaces to reflect on larger social, economic, and cultural themes. Each volume will focus on North America from colonial times to the present-day, but will include an introductory chapter tracing the history of the space from the beginnings of Western (or, in some cases, world) history. The series will start with eight titles: bedroom, bathroom, kitchen (private); office, school, factory, bar/tavern, and restaurant. Six titles have thus far been assigned. We are looking for authors for the RESTAURANT and OFFICE titles.

    We are seeking academics in the fields of material culture, social history, and related fields. Interested parties should contact acquisitions editor James Ciment at james.ciment@ca.rr.com<mailto:james.ciment@ca.rr.com>. Please attach a CV.
     
  • The Concrete Atlantis Revisited

    London | Dates: 02 – 28 Feb, 2017
    The Concrete Atlantis Revisited is a new exhibition conceived by the Museum of Architecture that takes Reyner Banham’s 1986 book as a starting point to examine the influence of industrial architecture on the built environment. Starting from masters of the Modern Movement in the early 20th century – Le Corbusier, Walter Gropius and Erich Mendelsohn – the exhibition traces the role concrete silos have played in the architectural production to the present day. The special focus of the exhibition is a series of photographs taken by Adam Elstein of the grain silos in Buffalo, New York. 
     
    Running at MoA’s temporary exhibition space in South Kensington, the exhibition draws together a variety of material, from photography to architectural models, magazines, books and archival imagery. 

    Tracing what he sees as the “true sources of the International Style”, in “A Concrete Atlantis” Reyner Banham examines the role of the American industrial model for European architects of the early 20th century. Banham suggests that the US was idealised as the “motherland of industry”, where modernity was already a reality, and that European architects sought to design buildings that were “as functionally honest and as structurally economical as any American factory.” “A Concrete Atlantis Revisited” brings this analysis to life through a critical examination of the fascination with industrial architecture made possible through the juxtaposition of past and present work.
     
    The exhibition is structured around three different sections: the opening section puts on display the work of architectural photographer Adam Elstein. Elstein’s photographs depict the grain silos in Buffalo, New York, that have captivated the imagination and incited the theoretical discourse of Modernist architects. The second part of the exhibition traces the influence of silo architecture on Le Corbusier, Erich Mendelsohn and Walter Gropius both through their work and writing. The final section of the exhibition showcases the work of contemporary architecture practices, such as Heatherwick Studio and MVRDV, that re-imagines the silo today. ​
  • Call for Book Chapters: A Cultural History of Interiors in the Medieval Age

    Dates: 02 – 24 Feb, 2017
    A Cultural History of Interiors in the Medieval Age
    Ed Mark Taylor

    Call for Book Chapters

    A Cultural History of Interiors in the Medieval Age is one volume of the six volume series entitled A Cultural History of Interiors (general editor John Turpin) to be published together in hardback as a set and then released as individual volumes 12-16 months later.

    Interiors-as a human artefact-are a manifestation of time, space, and people, of cultural values and belief systems, and of social structures, new technologies, and philosophies of beauty. They play a crucial role in the construction of identity - whether in terms of gender, class, sexuality or nation. They represent power and control, and also the contestation or transgression of boundaries. The interior speaks to who we are, who we want to be, and, at times, who we should be.
    Though deeply anchored in the characteristics of different styles, the history of interiors began to witness a new level of significance during the middle of the twentieth century as scholars like John Summerson, John Gloag, and Mark Girouard began connecting interiors intimately to their context. By the turn of the 21st century, a robust group of scholars had developed in the UK, Australia and the US. A natural outcome of the growing discourse was a new journal, Interiors: Design, Architecture, Culture, which won the CELJ 2011 Best New Journal Award. They recognized the content that brought forth "salient issues and speaks to the historical reflection of structure as a symbol of culture, community, mores, and personality." Such events suggest that the time is ripe for a publication that gathers and focuses this knowledge as a means of advancing the discipline.
    Textbooks continue to struggle with the balance of stylistic traits and the forces that created them. Single paragraph snapshots of a piece of furniture, plan, or moulding rarely provide the reader with any information beyond a rather superficial encyclopaedic entry. The author does not have the time to unfold the story of the artefact's development, creation, and function as impacted by the extrinsic forces of the culture that brought it into being. The proposed series-A Cultural History of Interiors-will, however, expand the narratives and present the reader with a much more comprehensive understanding of a particular period in time and its unique qualities that helped define interior spaces. Each volume will address the same themes so that readers can understand the full breadth of the period or explore a topic across time. The focus on culture and its impact on the interior (and visa versa) will be a truly innovative, if not ground-breaking, publication.
    FORMAT
    The series will consist of six volumes of essays that cover eight pre-selected themes, including: Beauty; Technology; Designers, Professions and Trades; Global Movements; Private Spaces; Public Spaces; Gender and Sexuality; and The Interior in the Arts. The first four themes are intended to cover topics that affect the design of interiors. The next two (Private and Public Spaces) focus primarily on the different types of interiors and their functions within a cultural context. The final two allow us to reflect upon the interior-one as a manifestation of implicit and explicit gender constructs and the other as an entity used by artists to convey an endless number of expressive messages. The selected themes have been chosen to provide a robust understanding of a particular time period. Addressing the same themes in all volumes provides an opportunity to trace a topic across time. Volume editors are chosen on the basis of their reputation and their record of being reliable, tim!
    ely and conscientious authors.

    A Cultural History of Interiors in the Medieval Age

    This volume includes 8 chapters @ 10,000 each, including all notes and references plus 5-6 illustrations in each chapter.

    STRUCTURE/CONTENT

    This volume covers a pre-determined period: The Medieval Age (1000-1400)

    Chapter themes:

    1.      Beauty - a discussion about the prevailing aesthetic theories that become manifest in the stylistic traits of the period.

    2.      Technology - elucidates the effect of materials, products and processes on the interior.

    3.      Designers, Professions, and Trades - introduces key individuals and organizations.

    4.      Global Movements - examines the degree to which ideas from various cultures migrated across time and space.

    5.      Private Spaces - focuses on issues of domesticity, etiquette and the family structure.

    6.      Public Spaces - focus primarily on intended functions, particularly as it relates to social, religious and political systems.

    7.      Gender and Sexuality - offers an opportunity to reflect on how interiors shape us and we shape them through an analysis of intentional and unintentional design decisions when it comes to defining, supporting or perhaps suppressing the concepts of man and woman.

    8.      The Interior in the Arts - looks at the interior in various art forms in order to articulate its significance as a cultural artefact embedded with meaning.

    Contributors are invited to submit a preliminary 500-word abstract related to one of the above themes, together with a short biography.


    EXPRESSIONS OF INTEREST should be received by Friday 24 February 2017 include the following:

    Name, organisation and industry, 500 word abstract, short biography.

    Submit to: mark.taylor@newcastle.edu.au


    Writing and production schedule

    24 February 2017: 500-word chapter proposal abstract via email: mark.taylor@newcastle.edu.au

    15 March 2017: Selected chapters announced

    1 October 2017: Draft chapters submitted: 10,000 words + 5-6 images

    1 December 2017: Revisions advice issued

    1 March 2018 final chapters

    Mark Taylor (University of Newcastle, AUS)
    Mark Taylor is Professor of Architecture at the University of Newcastle, Australia, and has a PhD in Architecture from the University of Queensland, Australia. Mark is an editorial advisor to Interiors: Design, Architecture, Culture and regularly reviews papers and book manuscripts for international publishers. His writing on the interior have been widely published in journals, and book chapters are included in Diagrams of Architecture (2010), Performance Fashion and the Modern Interior (2011), Domestic Interiors: Representing Homes from the Victorians to the Moderns (2013), The Handbook of Interior Design (2013) and Oriental Interiors (2015). He has authored and edited several books including Surface Consciousness (2003), Intimus: Interior Design Theory Reader (2006), editor of the four volume anthology Interior Design and Architecture: Critical and Primary Sources (2013), and Designs on Home: the Modern French Interior and Mass Media (2015). He is currently completing FLOW!
    : Between Interior and Landscape (2017).
     
  • The Alien in our Midst: Memory, Displacement and the Making of our Everyday World

    Princeton | Dates: 27 Mar, 2017
    Mellon Forum
    The Alien in our Midst: Memory, Displacement and the Making of our Everyday World

    Arijit Sen, University of Wisconsin - Milwaukee

    Discussant: Andrew A. Johnson, Anthrolopogy, Princeton University

    Arijit Sen is an architect and vernacular architecture historian who writes, teaches and studies urban cultural landscapes. His research includes studies of South Asian immigrant landscapes in North America. He has worked on post disaster reconstruction and community-based design in the Lower Ninth Ward, New Orleans and directed public history and cultural landscapes field schools in Milwaukee. He is currently an Associate Professor of Architecture and Urban Studies at the University of Wisconsin Milwaukee. Sen cofounded the multi-campus, interdisciplinary, Buildings-Landscapes-Cultures area of doctoral research on cultural landscapes. He has coedited Landscapes of Mobility: Culture, Politics and Placemaking (with Jennifer Johung coeditor, Ashgate Publishers, 2013) and Making Place: Space and Embodiment in the City (with Lisa Silverman coeditor, Indiana University Press, 2014). 
     
  • MIT Thresholds 46: SCATTER!

    Dates: 02 Feb – 01 May, 2017
    SCATTER! is the 46th issue of the MIT peer-reviewed journal of the Department of Architecture at MIT. The goal of SCATTER! is to investigate and expose the histories of distribution, dissemination, and circulation of architecture and its discourse, as well as imagine the futures of architectural knowledge, media and access to its ideas. Furthermore, and as part of its mission, this issue of Thresholds will provide platform for an array of scattered content in various forms and mediums, expanding on the physical limits of the journal.
  • Call for papers: Special Issue of Future Anterior: Utopian Currents in Heritage

    Dates: 02 Feb – 01 Mar, 2017
    Guest Editors: Helen Graham: H.Graham@leeds.ac.uk Elizabeth Stainforth: E.M.Stainforth@leeds.ac.uk Centre for Critical Studies in Museums, Galleries and Heritage School of Fine Art, History of Art and Cultural Studies, University of Leeds Deadline for submission: March 1, 2017 While the notion of heritage has been closely associated with continuity and preservation, recent theorizing in Critical Heritage Studies has argued that the very desire for continuity also requires and produces change. The definition of heritage as ‘a contemporary product shaped from history’ (Tunbridge & Ashworth 1996; see also Harvey 2002; 2010; Smith 2006; Harrison 2010) highlights the extent to which our relationship with the past is being continually re-configured. However, there is a future dimension implied in this relationship that is often neglected. To paraphrase William Morris, the future dimension in heritage testifies to the hopes and aspirations of those now passed away. One way of considering heritage as future making is through the lens of ‘utopianism’, which is currently enjoying a resurgence in a number disciplines not least sociology (Levitas 1990; 2013), literary studies (Jameson 2005) and law and political theory (Cooper 2014). Given that William Morris, one of the founders of the late 19th century European heritage movement, was also a revolutionary socialist and writer of utopian fiction there is, as yet, unexploited scope in thinking heritage and utopia together. Making the utopian, future-oriented aspects of heritage explicit is both an acknowledgement of the inevitability of change and an opening for thinking about the changes envisaged by former generations. In other words, heritage practices make it possible to diagnose a history of how people imagined the future might be. Heritage does not, therefore, only describe practices aimed at making a future in the image of the past and present, but can also be read as an attempt to think the world into being otherwise. These logics of the future speak directly to alternative social and political imaginaries and raise questions for heritage. What are the political and temporal constituencies of slogans such as ‘forever, for everyone’ (UK National Trust)? What sorts of imaginaries might open up political potentials for heritage and have implications for decision-making processes? How are projected heritage scenarios shaped by current hopes and fears? And how might we draw out the utopian – and indeed dystopian – tendencies in different heritage practices? This special issue of Future Anterior invites papers that explore the utopian currents in cultural heritage, in order to offer an alternative critical lens on debates about sustainability and historic preservation. Possible topics include: Heritage futures based on current architecture, art and preservation practices. The social and political imaginaries involved in heritage practices and writing about heritage. Logics of time and how buildings are employed in the negotiation of the past and the future within heritage studies (through, for example, conservation, interpretation, participation). Diagnoses of utopian or dystopian currents in architectural heritage case studies. Discussions of heritage in relation to the hopes/fears of particular groups or communities of people. Examples of utopian interventions in historic buildings oriented towards change, or alternative heritage decision-making processes. Articles submitted for peer review should be no more than 4000 words, with seven to ten illustrations. Text must be formatted in accordance with the Chicago Manual of Style, 15th Edition. All articles must be submitted in English, and spelling should follow American convention. All submissions must be submitted electronically. Text should be saved as Microsoft Word or RTF format, while accompanying images should be sent as TIFF files with a resolution of at least 300 dpi at 8 by 9 print size. Figures should be numbered clearly in the text. Image captions and credits must be included with submissions. It is the responsibility of the author to secure permissions for image use and pay any reproduction fees. A brief author biography (around 100 words) must accompany the text. Please visit the University of Minnesota Press guidelines for further manuscript guidelines. Acceptance or rejection of submissions is at the discretion of the editors. Please do not send original materials, as submissions will not be returned. Please email all submissions to the guest editors (see above) and Future.Anterior.Journal@gmail.com.
  • CFP: Troubling Histories: Public Art and Prejudice

    Johannesburg | Dates: 15 – 18 Nov, 2017
    Troubling Histories: Public Art and Prejudice 15 - 18 November 2017 This is a call for papers, a selection of which will be identified for further development into 5000-word articles for a themed issue of De Arte, a Taylor & Francis journal published with the University of South Africa. The conference will take place at the offices of the Research Chair of South African Art and Visual Culture at the University of Johannesburg between the evening of 15 November and lunchtime on the 18 November 2017. The keynote address will be by well-known scholar of public art, Prof Erika Doss from the Department of American Studies at the University of Notre Dame, whose publications include Spirit Poles and Flying Pigs: Public Art and Cultural Democracy in American Communities (1995), The Emotional Life of Contemporary Public Memorials: Towards a Theory of Temporary Memorials (2008), and Memorial Mania: Public Feeling in America (2010). THE THEME In March 2015, a small-scale protest against Marion Walgate’s sculpture of Cecil John Rhodes at the University of Cape Town developed into the “Rhodes Must Fall” movement and culminated in the work’s removal from campus a month later. The protest had widespread impact. Raising questions about not only Rhodes’ representation in the public domain but also those of other individuals associated with values and ideologies that have fallen from favour who are commemorated in South Africa, it had the additional impact of reigniting a long-standing international concern: whether focused on sculptures of Lost Cause heroes in the United States, European monuments commemorating individuals revealed to have been Nazi sympathisers or Australian monuments memorialising events associated with the suppression of aboriginal peoples, for example, art historians and other citizens concerned about visual discourse in the public domain have long-since debated what steps, if any, should be taken to negotiate ‘problematical’ public art inheritances. The contention around the representation of Cecil Rhodes also highlighted longstanding concerns about how art in the public domain has tended to recognise some histories and experiences while marginalising others. Unsurprisingly, endeavours to negotiate prejudicial art from the past has been simultaneous with endeavours to create new monuments and memorials which recognise the victims of oppression and atrocities. Some of these new public works have been successful, and the reasons for their success are worth exploring. Others, however, have proved controversial. Raising debate about not only about who or what is commemorated but also sometimes the designs deployed for such commemorations, some have additionally involved contention about the locales in which these works are placed, consultations that may or may not have taken place in the process of developing them, as well as a host of other issues. .
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