Call for Papers
“A Sense of Proportion: Architect-Designed Objects, 1650–1950”
Rienzi, the house museum for European decorative arts of the Museum of Fine Arts, Houston, presents its biennial symposium to focus on objects that are the embodiments or extensions of an architect’s ideas or aesthetic. Scholars discuss objects made for particular spaces, objects used to explore new design sources, and objects intended to be part of an integrated space.
Keynote Address: Friday, September 23, 5 p.m.
Presented by Adriano Aymonino, lecturer and coordinator of undergraduate programs, department of art history, University of Buckingham
Graduate and doctoral students as well as entry-level and mid-career professionals are invited to submit a 400-word abstract outlining a 20-minute presentation, along with a CV. Selected participants are offered a $600 stipend for travel and lodging.
Themes of investigation may include, but are not limited to:
Architecture, Costume, Design, Dining, Economics, Etiquette, Gender, Interiors, Leisure Activities, Privacy, Technology, and Travel.
- Deadline to submit: Wednesday, June 15, 2016
- Notification for selected participants: On or before July 15, 2016
- Presentation: Saturday, September 24, 2016, at the Museum of Fine Arts, Houston
Send proposals to firstname.lastname@example.org
In 2016 the Warner House in Portsmouth NH celebrates its 300th birthday. In 1715 merchant-captain Archibald Macpheadris purchased property in Portsmouth New Hampshire. He commissioned London-trained builder John Drew to build a three-story brick mansion unlike anything previously built in Portsmouth. It would have been at home in the London neighborhood of Deptford where John Drew had learned his trade. In 1760 Macpheadris’s daughter Mary wed Jonathan Warner. They updated the house and Warner’s descendants owned the house until 1932 when it became a museum. Two exhibitions are planned to celebrate this important anniversary.
Three Centuries of Dining at the Warner House at Warner House
The first exhibition at the house, Three Centuries of Dining at the Warner House will feature vignettes from the Macpheadris years through the summer occupancy of Eveline Sherburne and her nephew Thomas Penhallow. On the first floor, the parlor will showcase four periods of dining—Macpheadris (c 1725), Warner (c1770), John Nathaniel Sherburne (c1830) and Eveline Sherburne (c1910). The setting room or small parlor will be the scene of business entertaining by Jonathan Warner while the inner kitchen will show how the enslaved Africans and servants would have eaten in the 1760’s. The upstairs will show other aspects of dining. The small chamber off the hallway highlights Archibald Macpheadris’s study where he could sample Irish cheese sent to him from Cork and evaluate the Madeira he had just imported. In the large parlor chamber, the only known fully smalt decorated room in the United States, a table is set for breakfast tea for Elizabeth Pitts (Jonathan’s 3rd wife) and Jonathan Warner. The southwest bedchamber exhibits setting-up week for Betsy Penhallow after the birth in 1846 of her first child Thomas. Setting-up week normally took place four weeks after the birth and allowed relatives and friends to greet the mother and new child while enjoying refreshments. The northwest bedroom depicts the increasingly changing domestic arrangements of bedrooms. It is being used for supper for the Whipple toddlers in their parents’ bedchamber.
We worked with letters, inventories, archaeological evidence and newspaper advertisements to develop place settings of ceramics, glassware and flatware with menus to accompany each vignette. Two fun food facts from the 18th century —in 1719 Archibald Macpheadris bought one hundred barrels of lemons for his own account. Some of these were undoubtedly destined for Portsmouth. In 1735 his daughter Mary was willed four hogsheads of rum from Nevis by her uncle Gilbert Macpheadris—some would been consumed at home but most sold. Explore the history of the house from the merchant captains of the 18th century to the summer residents of the early 20th century.
Three Centuries of Dining at the Warner House
150 Daniel St PO Box 895
Portsmouth NH 03802
June 1- October 16, 2016
See Warner House website for more information: www.WarnerHouse.org or email info@WarnerHouse.org
Celebrating 300 Years at the Warner House at Discover Portsmouth Center
Our second exhibition will take place at the Discover Portsmouth Center curated by Richard Candee and Robert Chase. Celebrating 300 years at the Warner House expands our understanding of the house through art, artifacts, souvenirs, and ephemera both as an important Portsmouth mansion and as a house museum. Paintings by diverse artists, including Worthington Whitridge, Sarah Haven Foster, Russell Cheney, Harry Harlow and Henry Bakula are featured.
On view will be the first graphic reconstruction of Portsmouth’s only known English baroque doorway. Explore cutting edge 18th century technology—counterbalanced windows, the oldest existing in New England. A full range of two centuries of archaeological shards excavated at the Warner House will be on display. The shards have been used to identify and have been matched to examples of 18th and 19th century ceramics and glass.
The house became so beloved by the Portsmouth community that ceramic and tintype souvenirs with the image of the house were available even when it was still a private residence. Colonial revival photographs staged in 1915 by Wallace Nutting of one of the descendants were another type of souvenir. The early Warner House sign celebrates the opening of the museum in 1932, thus saving it from being destroyed and replaced by a gas station.
Celebrating 300 Years of the Warner House
Discover Portsmouth Center
10 Middle St
June 1-September 2, 2016
Discover Portsmouth website: www.PortsmouthHistory.org
The Official Architect:
missing chapters in the history of the profession.
Official architects, if considered at all, are now most readily associated with the work of the once powerful local authority architects departments of the post-war era. However they have an earlier and more varied history. During the eighteenth, nineteenth and for much of the twentieth century in Britain the title applied to any architect in salaried employment, often working for the state in departments such as the Office of Works, the Admiralty, or the Post Office. Yet such posts were also relied on in bodies as varied as the Miners Welfare Association, the Imperial War Graves Commission, and large private companies such as Boots, Woolworths, the Co-Operative Wholesale Society, and major railway companies such as the L.M.S. Responsible for the design of large swathes of the built environment the work of such architects was as often referred to derogatively as ‘departmental architecture’ and attacked for its poor quality or gone unnoticed due to the culture of bureaucratic anonymity.
Celebrating the 60th Anniversary of the Society of Architectural Historians of Great Britain, this annual symposium, held in partnership with the Royal Institute of British Architects, aims to explore the history of salaried official architects and their work - from Borough Surveyors to County, City or Chief Architects and others - including those in the state and public sectors, major companies and international corporations. Contributions are welcome which highlight individual careers, institutions, working methods, major buildings/projects, and the political and professional debates surrounding Official architecture in this country and beyond over the last two hundred years or more the better to understand this strand in the history of practice.
Online booking still open. The full Symposium fee is £60(includes lunch and refreshments) but concessionary rates are available for early career scholars (£40 - within ten years of completing a PhD) and students (£25).
The SAHGB's annual four-day field conference or study tour, this year to Plymouth and East Cornwall, with privileged access to important and often-inaccessible local buildings of all types and periods, and also the opportunity to meet and network with 100 fellow architectural historians. The conference is being organised by Dr Matthew Walker (Oxford University). Free places are available for postgraduate students and early career researchers.
While this award winning Atlanta firm is best known for its libraries and other institutional buildings, they have amassed a portfolio of spatially complex, inventive, cutting edge modern houses which will be the subject of Merrill Elam’s presentation.
Merrill Elam lectures and teaches as a visiting Faculty at the Georgia Institute of Technology. She received the 2014 Women in Architecture Design Leader Award from Architectural Record magazine. Among her numerous awards are the 2011 Arnold W. Brunner Memorial Prize from the American Academy of Arts and Letters, the 2012 Cooper-Hewitt National Design Award in Architecture, and an Honorary Fellowship in the Royal Institute of British Architects. Her firm is the recipient of both local and national AIA Honor Awards of Excellence.
Appetizers and cocktails will be provided. Space is limited, please RSVP.
This lecture co-sponsored by AIA Chicago CRAN.
INTERNATIONAL PRIZE FOR
SCHOLARLY WORKS IN
MODERN AND CONTEMPORARY
ART AND ARCHITECTURE
«L'ERMA» di BRETSCHNEIDER
Open to scholars of up to 40 years of age.
Abstracts deadline 16th May.
The Conference will be held at venues around Sydney and in the UTS Dr Chau Chak Wing building designed by Gehry Partners.
Indy Johar of Architecture 00 has been confirmed as the first keynote speaker. Satellite events will tie-in the conference to the opening of the Sydney Architecture Festival. The Conference is jointly hosted by UTS and the NSW Architects Registration Board.
Our mission for this conference is to identify which areas of innovation are native to architectural practice, process and education and which are areas of economic and cultural opportunity for future practice that can participate fully in a globalized 21st century environment. These include products (goods or services); processes; models and methods for R&D and so on.
Contributions to the conference linking academic and professional perspectives aim to identify the context of innovation for architectural practice and education now, and provide a critical datum from which to address the extent of structural change that may be required across the discipline so it will not only survive but prosper in a context supported by the national innovation agenda and its terms of reference 3
Through an examination of projects and practices broadly understood as opportunities for innovation that sit in both professional and institutional contexts, this conference seeks to position forms of innovation specifically in the context of Australian architecture.
Smart businesses are inviting their workers to co-design strategy. Citizens are co-producing policy. Companies ask customers to help design new products. The conference seeks participation from a wide variety of contributors in the form of academic papers and presentations, Practice-Based submissions and design research projects.
We welcome submissions from practice, those operating at the margins and from academics interested in co-producing a platform for sustained innovation across the sector. Proposals and speculative papers are encouraged to provoke lively discussion about the future of the discipline and its relation to innovation agendas and innovation more broadly.
The conference will close with the opening of the 10th annual Sydney Architecture Festival which, this year, celebrates the bicentenary of the NSW Government Architect by asking; what's next, and are we ready for it?
Registration is now open for the IFLA (International Federation of Library Associations) Art Libraries Section.
The World Architecture Festival is where the world architecture community meets to celebrate learn, exchange and be inspired. It is the only architecture event where keynote talks from the industry’s most influential figures sit alongside live crit presentations and judging of over 350 award finalists, global networking, a 400 project strong gallery and an international product exhibition. World Architecture Festival 2016 will take place on the 16 - 18 November in Berlin Germany.
Workshop organized by the Archivio del Moderno – Università della Svizzera italiana (USI) with the support of the Swiss National Science Foundation, curated by Maria Felicia Nicoletti and Paola Carla Verde
An understanding of architectural practices is becoming increasingly important in the analysis of building dynamics according to the latest critical historical studies. Our upcoming workshop forms part of the research project “The Fontana builders between XVI and XVII century. Operating processes, techniques and workers’ tasks” supported by the Swiss National Science Foundation (responsible applicant: Letizia Tedeschi, co-applicant: Nicola Navone, Archivio del Moderno – Università della Svizzera italiana). The event will investigate the organization and techniques of construction sites operating in Italy in the second half of the sixteenth century, comparing paradigmatic examples of sites managed by the Fontana in Rome with other contemporary sites in the Italian peninsula.
Several aspects will be analyzed: the adjustment of architectural practices in which the experiences of the various families of foremen-contractors flow together and intermingle, the practices specific to the Fontana family, and the presence, in various contexts, of Ticinese families asserting themselves by ensuring that they received the contracts for major construction sites through their proven entrepreneurial skills. With this critical approach, the whole aims to develop a more precise view of the contribution of construction contractors in Italian building sites during the second half of the sixteenth century, and to promote a better understanding of architectural practices after Michelangelo.
Scientific Committee: Giovanna Curcio, Università IUAV di Venezia; Francesco Paolo Fiore, Sapienza – Università di Roma; Nicola Navone, Archivio del Moderno – Accademia di architettura, Università della Svizzera italiana; Letizia Tedeschi, Archivio del Moderno – Università della Svizzera italiana; Sergio Villari, Università degli Studi di Napoli Federico II.
The entrance is free.
For information: +41 (0)58 666 55 00; email@example.com
After the success of the first meeting of the International Bridges Group in Westminster Palace, the IBG will meet in Prague for their second symposium. The Charles Bridge in Prague, with its spectacular gate tower, makes the city an excellent choice, and will be a major topic of discussion. In addition to that, we have planned a one day trip to Písek, a charming medieval town outside of Prague and a home of the oldest standing bridge in the Czech Republic.
To take advantage of Prague itself, we will be given a private tour of St. Vitus Cathedral (when it is closed to the public); of the House at the Stone Bell and of several other major sites usually closed to the public. In addition, as 2016 marks 700 years since the birth of Emperor Charles IV, our symposium there would be the perfect opportunity for the delegates to see the spectacularly planned ‘Emperor Charles IV 1316 – 2016’ exhibition in the Waldstein Riding School.
The Italian Art Society’s IASblog publishes short articles on all aspects of Italian art and architecture from prehistory to the present.
We seek applications for staff writers to contribute regular features for IASblog including, but not limited to, historical notes tied to anniversary dates of births, deaths, or other significant events related to Italian artists, architects, designers, and patrons, as well as historians and critics of Italian art. Notes on current exhibitions, new publications, and news items relevant to the study and conservation of Italian art and architecture are also welcome. Staff writers will create new content and/or revise existing content, averaging five to seven short posts per month (250-1,000 words). Staff writers are encouraged to pitch ideas for blog posts outside of their assigned articles. All new content will include author byline with hyperlink to a personal or professional website, and each staff writer will have a short bio posted on the blog’s “About” page. The position of staff writer does not carry additional compensation. Visit IASblog at http://italianartsociety.tumblr.com to see sample posts. To apply, please submit a letter of interest, cv, and a short writing sample to IASblog Editor Anne Leader and IASblog Editor designate Alexis Culotta at firstname.lastname@example.org by 31 May 2016. Successful candidates must be members or will be asked to join the Italian Art Society and will begin contributing to IASblog upon appointment for a one-year, renewable term.
The Italian Art Society’s Newsletter is published three times per year (February, May, and September). It includes updates and news from the organization, feature articles (such as reviews of recent books and exhibitions), exhibition listings, and short notices on all aspects of Italian art. We seek applications for editorial assistants to help solicit and manage content, and edit the Newsletter. The position of editorial assistant does not carry additional compensation. Visit the IAS at http://italianartsociety.org/newsletters-2/newsletters/ for more information and copies of past newsletters. To apply, please submit a letter of interest and cv to IAS Newsletter Editor Alison Fleming at email@example.com by 31 May 2016. Successful candidates must be members or will be asked to join the Italian Art Society and will begin work with production of the Fall Newsletter.
All lecture begin at 6:00. They are open to all, free of charge, and no reservations required. For abstracts, please see our website.
GENOA-IANUA. S. Maria Assunta di Carignano 1481-1724. Sculptural Decoration and Urban Planning
L'età dell'intelligenza: vocazioni religiose di adolescenti del '500
Architecture and the Body in the Renaissance
New Perspectives on the Reception of Florentine Panel Painting:
Interpreting Scratch Marks
Kate van Orden
Music as a Sonic Record: Sixteenth-Century Vernaculars in Perspective
Organizers: Ivan Foletti, Universities of Brno and Lausanne; Francesco Lovino, Institute of Art History, Academy of Sciences of the Czech Republic
Today the question "Orient oder Rom?" is no longer a topical issue in medieval art history, although a persuasive answer has never been formulated. One of the reasons for this oblivion deals with the controversial figure of Josef Strzygowski, who in 1901 published about the question his pivotal volume and nowadays discredited for its racial and proto-nazi judgement. However, the question "Orient oder Rom?"
concerns not only with Josef Strzygowski: the prodromes of this critical concepts goes back to the nineteenth century, when the Russian, Austro-Hungarian and Ottoman empires fought to control contested territories, and humanities studies mirrored these conflicts.
The conference aims to distance from the sole Strzygowski's perspective and to comprehend and rewrite the story of a pivotal concept for both art historiography and cultural identity. The goal of such reflection deals with three different moments: (I) the prehistory of the question "Orient oder Rom?" according to the nineteenth-century studies in the Russian, Austro-Hungarian and even in the Ottoman empires, where art history coincided with political aspiration; (II) the Vienna experience and the dialectical clash between Alois Riegl's and Franz Wickhoff's school against Josef Strzygowski, and its repercussions worldwide; (III) the longue durée, or how the lumbering figure of Strzygowski determined the critical misfortune of the question during the 1920s and the 1930s, until the postwar period.
Participants are invited to reflect on such issues as:
- the manner in which the question "Orient oder Rom?" was used in local context and especially in the long run;
- the scholars who discussed and faced this critical point; the impact of "Orient oder Rom?" in the study of monuments and art objects;
- the political use of the historiographical concept.
Papers from a diachronic art historical perspective are especially welcome.
The organization will provide accommodations for all participants; additionally, partial funding is available to support travel expenses.
Paper proposals of no more than one page, accompanied by a short CV, can be submitted until 9 September 2016 to: firstname.lastname@example.org and email@example.com
The Graham Foundation is pleased to present The Flesh Is Yours, The Bones Are Ours, an exhibition by Michael Rakowitz. Concurrently displayed at the Graham Foundation’s historic Madlener House and Rhona Hoffman Gallery, Rakowitz’s installation deploys fin de siècle Istanbul’s architectural remains as a counternarrative to the city’s rich multiethnic historical development, at the same time excavating psychic and material traces of the Armenian craftspeople responsible for much of the city’s art nouveau façades.
The exhibition’s title “The Flesh Is Yours, The Bones Are Ours” refers to a customary Turkish saying used when an apprentice was given over to a master—meant to convey that the teacher was granted influence over their pupil. Such was the case with Kemal Cimbiz, a Turk who joined the atelier of Garabet Cezayirliyan, a member of the Armenian artisanal community. Under Cezayirliyan’s tutelage, Cimbiz began to create and cast molds in the tradition marked by late-nineteenth-century Istanbul’s once rapid modernization. To this day, the stone and plaster embellishments on buildings throughout Istanbul bear not only this storied legacy of craft, but also indelible impressions of the hands that built them, a haunting reminder of the traumatic histories that befell the city’s Armenian population.
As with many of Rakowitz’s projects, an engagement with questions of craft soon complicates our understanding of the historical forces acting against transmissions of skill and expertise, hinting at the maintenance of tradition as a form of resistance to cultural erasure. Facilitated by the fluid dissemination of knowledge and international inspiration once galvanized by Louis Sullivan’s quest for a new architectural language, Rakowitz claims a modernist lineage of ornamentation to evoke parallel narratives of activist preservation in both Istanbul and Chicago.
Call for Papers and Projects
DIALECTIC, a refereed journal of the School of Architecture, CA+P, University of Utah
Dialectic V: The Figure of Vernacular in Architectural Imagination
June 1st, 2016
Abstract (350 words)
The School of Architecture at the University of Utah has a longstanding commitment to place-based architecture and defining the contours of the illusive concept of the American West. Dialectic V invites contributions that explore the vernacular afresh: as a quantifiable phenomenon, as an analytical category, and as an ethical stance. The editors of the journal welcome new takes on questions including but not limited to the definition, the role, and the challenges of the study of the vernacular.
The contemporary emphasis on locality and the creative expression of time-tested know-how of “common folk” comes out of modern and postmodern valorization of cultural plurality. The turn to regionalism in architecture—whether critical or romantic, principled or a cynical tool to brand a place or pedagogy—is intimately wound up with the perception of capitalism and mass media as either suppressing or manipulating disparate cultural identities, local practices, or complex histories. Scholars like Thomas Hubka, Thomas Carter, and Dell Upton have shown connections between modernist and vernacular practices and how they anticipate each other. It should therefore not be surprising that schools like Utah attend to the lived environment of ordinary folk and look askance at the dazzling acrobatics of global starchitects as a naïve continuation of the modernist legacy. This stance produces and reinforces another ideal: a commitment to community engagement. It provides a framework for foregrounding humble but profound projects and modes of practice that give voice to those overlooked by spaces bleached of memory and rationally produced as commodity for glossy magazines and mass tourism.
However, the vernacular is not necessarily or inevitably a progressive concept. Tania Li and Jane M. Jacob have demonstrated the use of vernacular and indigenous as cognitive categories by colonial administrators to map territories and classify populations for a myriad of exploitative goals. Well meaning donor agencies like the World Bank in turn, perpetuating the same governmental strategies have deployed these same concepts as heuristic devices for denigrating certain people as bounded groups, fixed “forever in place.” In Germany, a racial lens exalted the thatch roofs of its countryside as a proof of an immutable superior nature of German volk. Later all across the Middle East, the progressive ideal of cultural diversity has been leveraged to erect caricatures of walled cities aimed at self-orientalization and maintaining traditional gender and class inequities. The vernacular is an unstable concept—always vulnerable to reduction and capture as cultural commodity and/or uncritical ideology.
What then is the vernacular? Is it foremost an economic entity or a cultural one? Does it refer to a process, language, or an image? Does it signify an object or its background? Is it a heuristic term for “no logo” buildings, or is it a brand and a style in and of itself? Who are the actors involved in the making of the so-called vernacular? What are the different ways it has been instrumentalized in design practice and policy decisions—for example by framing insights into native landscape intelligence and responses to climate? Or does vernacular simply stand in for a life style—growing, building, and buying, local—whether as principle or fashion. Is it related to the ‘greening’ of commerce and consumption? Or is it a futile, perhaps reactionary resistance to the elision of place and place-based practices by globalized circulation of goods, ideas, people, and materials? These questions highlight the vernacular as an active and multifaceted term.
We would entertain papers or projects that ask: What is the value of marking the boundary between design produced according to disciplinary and extra-disciplinary criteria? What about architects like Hasan Fathi “reproducing” vernacular and his followers perpetuating the approach? We would welcome proposals to document the Disneyfied use of the vernacular works in current tourism economies? How has a strategic deployment of vernacular studies in the history and theory of architecture operated? How could it? What does it mean to activate the distinction between pedigree and non-pedigree architecture today? Do the tacit structures of software and computation imply a digital vernacular? What is the vernacular of 20th century? Is it constituted by the low cost trailers offered by HUD in the United States and other agencies in different parts of the world or does the stick-frame American suburb qualify, and what does this say about how the vernacular is classed? Are ubiquity and absence of a professional architect all that are required, or is a specific depth of history required? If so, what does this do to the association of vernacular with the voices from below?
The editors value critical statements and alternative practices. We hope to include instructive case studies and exciting models for professional practice. Possible contributions may also include mapping of ongoing debates across the world, book, journal, exhibition and new media reviews. Please send abstracts of 350 words and short CVs to Shundana Yusaf firstname.lastname@example.org and Ole Fischer email@example.com by June 1, 2016.
Accepted authors will be notified by June 15th. Photo essays with 6-8 images, creative comment, art-work, and full papers of 2500-3500 words must be submitted by August 15, 2016, (including visual material, endnotes, and permissions for illustrations) to undergo an external peer-review process. This issue of Dialectic is expected to be out in print by September 2017.
DIALECTIC a refereed journal of the School of Architecture, CA+P, University of Utah
ISSN: 2333-5440 (print)
ISSN: 2333-5459 (electronic)
Kohler Company, Ann Sacks Tile & Stone, Design Within Reach, and Gordon House Conservancy have teamed up to bring you an educational presentation connecting current housing concerns with Frank Lloyd Wright's designs for small houses. Wright's efforts after the Great Depression can be applied to the housing crisis of today.
Keynote speaker, Dale Gyure, noted Wright scholar from Lawrence Technological University, will speak on Usonian Design and affordable housing. Gyure’s talk will be followed by a panel discussion on affordable housing here in the Portland region. He will relate the art and architecture of Wright’s Usonian ideals to local current real world issues.
Sarah Zahn (Gerding Edlen Development), Eli Spevak (Portland Planning Commission and Orange Splot), and Diane Linn (Executive Director of Proud Ground) will join this important discussion.
Refreshments, networking, and a surprise drawing will help you wind down at the end of the week. Pay $50 per ticket, special student tickets for $10 with ID, extra special new professional tickets for $25. For more information call 503.874.6006. Make early reservations and payment by Saturday, May 7, to get two extra drawing tickets.
The visual imagination is one of the most powerful human capacities.
It plays a vital role in art and literature, religion and science, and has been studied and celebrated by artists, writers, philosophers, psychologists, and, now, neuroscientists.
The event, which is the culmination of the AHRC-funded research project, ‘The Eye’s Mind’, will bring together leaders in all these fields to shape a new and more integrated understanding of this mysterious mental resource.
Keynote speakers include:
Paul Broks (psychology), John Onians (art history),
Joel Pearson (neuroscience), Michael Tye (philosophy)
and Adam Zeman (neurology)
Domestic Space in France and Belgium: Art, Literature and Design
Modernity in many respects is exemplified through the development of the domestic interior in the nineteenth and early twentieth century, which was characterized by an evolving relationship between public and private, a progressive relationship with technology, an embracing of the mass media and the marketplace and a new prioritisation of individualism and interiority. Despite its centrality to the history of modernity, it is only in the last decade or so that the domestic interior has begun to be the subject of a body of criticism largely thanks to the work of cultural and design historians such as Hilde Heynen, Anne Massey, and Penny Sparke. These critics have emphasised the need for modern interior to be positioned in a multidisciplinary context in order to allow its rich history to become visible. This conference seeks to bring together specialists from a wide range of areas, including art history, literature, French studies, cultural geography, the history of design and gender studies to discuss the conceptualisation and representation of the domestic interior. It aims to bring together speakers from different backgrounds in the humanities and social sciences and draw on a variety of disciplinary tools and methodologies. Submissions for 20-minute papers or panels (of 3 people) are invited across a wide range of topics, including but not limited to:
Interiority as a dimension of space
Materials of Modernity
The Literary Salon
Space and Identity
Public and private
Home as Microcosm
Professor Anne Green, King’s College, London Professor Hilde Heynen, KU Leuven Dr Janet McLean, National Gallery of Ireland Submissions should be sent to firstname.lastname@example.org by 31st of May 2016
*A selection of papers will be published with an International Press and a special issue of a Peer-Reviewed Journal.
Akademie Schloss Solitude, May 19 - 21, 2016 Registration deadline: May 13, 2016
Geographies are intense zones of human action and interaction – from market places to migration, and homes to cyber communities. Spaces are not simply containers within which people live and work; spaces are a product of human lives and the actions that take place in those spaces.
Exploring the relationship between the physical armature of a place and the larger sphere of political and cultural action and production is something that this theme proposes to engage with. In this exploration, we propose to engage with biographies – the vectored lives of people and things. Biographies are complex journeys of individuals within multiple lives and spaces. The biography is proposed as a means to exploring the culture of spaces and the sciences of its production.
Biographies could be »channels of communication by means of which subjectivity and facticity engage in a constant nervous process of dialogue.« 
Places and geographies are active zones of politics and cultural processes and it is in the attempt to understand the complexity of what makes a place that we propose to work with the lives of people and objects that are part of these places – their structure, their composition, their occupation, and their journeys. What is the relationship between life and places, politics and spaces in the everyday lives of people and their societies, their objects and their stories?