This international conference will examine the phenomenon of shifting populations and their connections to urban heritage. Hosted by Rutgers’ Program in Cultural Heritage and Preservation Studies (CHAPS), this conference will bring together leading scholars and practitioners from around the world to address the complex and interconnected challenges facing cities and their populations. The overarching goal is to identify new approaches towards working effectively with diverse and dynamic populations as part of current efforts to rethink the meaning and practice of heritage conservation within the “shifting cities” that define urbanism in the 21st century. According to the Getty Conservation Institute, conservation of historic cities is “currently one of the most universally urgent and challenging cultural heritage issues.” As populations grow and migrate and our world becomes increasingly urbanized, socio-economic change, environmental stresses, armed conflict, and the difficulties of continuing traditional forms of use threaten the sense of place and identities in urban communities. A critical rethinking of urban heritage conservation is called for at this time.
By bringing together heritage practitioners with scholars and organizations engaged in what would not traditionally be considered “heritage” or “conservation” work (such as social services and public health), Shifting Cities will be a critical step in pointing us forward to new directions and approaches. The conference will include session panels and case studies that explore tangible ways in which practitioners and community organizations have been able to address the challenges of heritage conservation in the face of shifting populations. Two Roundtables, one focusing on the city of Camden, New Jersey and another focusing on armed conflict in the Middle East, will bring together diverse sets of professionals working in each city or region to share experiences and expertise.
Keynote speakers include Ishmael Beah, UNICEF Goodwill Ambassador and author of A Long Way Gone: Memoirs of a Boy Soldier & Radiance of Tomorrow, and Francesco Bandarin, Professor of Urban Planning at the University Institute of Architecture of Venice and co-author of The Historic Urban Landscape: Managing Heritage in an Urban Century.
The conference is free but pre-registration is required. For more information and to register, please visit the conference website: http://chaps.rutgers.edu/shifting-cities.html
Indonesia is a meeting point of several tectonic plates, so he becomes one of the most seismically active areas on the planet with long history of powerful eruptions and earthquakes. Like almost of every country members of the Asia Pacific region, Indonesia lie on what we call “Ring of Fire” which is very prone to volcano disasters
On behalf of the Indonesia Society of Landscape Architects (ISLA), I take with pleasure to reminding you of and at the same time inviting you to participate in 2015 IFLA APR Congress which will be held in Mataram, Lombok Island, Indonesia on 7-9 of September 2015. Theme of the 2015 congress is “Future Mountain and Volcanoscape”. In the frame work of this congress, a seminar, an excursion to and an anniversary will be organized.
The 2015 IFLA APR Congress will be held in conjunction with a celebration of the 200 years of the largest volcanic eruption recorded in modern civilization history. It is the eruption of Mount Tambora, which is 4.300 m high in the year of 1815. It totally created new landscapes, buried three kingdoms, killed about 17.000 people, and produced global anomaly climate and political impact.
The organizing committee is amidst putting up a very interesting congress programs and combined with the possibility for participants and accompanying persons to experience an enjoyable social cultural program with memorable visits and cultural performances, your participation in this important event promises to be both educative and pleasant. Please, don’t forget to register yourself as soon as possible. Until then, hoping to see you all at the congress. Welcome to Indonesia.
Dr. Ir. Siti Nurisyah, MSLA, IALI
President of ISLA
Robert M. Rogers, FAIA, partner at Rogers Partners Architects+Urban Designers and recent author of Learning Through Practice (ORO Editions, 2015), discusses the principal desires that guide his practice. He is intrigued by the impact of small things, pursues delight as an experience, and seeks authenticity in realizing projects for buildings, landscapes, and the public realm. A book signing will take place after the lecture.
1.5 LU (AIA)
$12 Members; $12 Students; $20 Non-members. Pre-registration required. Walk-in registration based on availability.
Beautifully illustrated with line drawings and photographs, engagingly presented, and organized by neighborhoods, this richly detailed guide takes a narrative approach, telling stories that illuminate the architectural, personal, and social histories of Manhattan, building by building. Alongside details about each architect, dates, and styles, author Tom Miller reveals the joys, tragedies, and scandals of those who lived within. In addition to iconic structures, the book includes many off-the-beaten-path buildings, as well as notable buildings that no longer stand but remain key to Manhattan’s architectural history.
Tom Miller moved to New York City in 1979 from Dayton, Ohio, bringing with him a passion for buildings. He currently holds the rank of deputy inspector within the NYPD’s Auxiliary Police Force. In 2009 he started a blog, "Daytonian in Manhattan", which has now reviewed over a thousand buildings, statues, and other points of interest.
All book talks are free and open to the public. The Gallery opens at 6:00pm.
All guests must RSVP to programs[at]skyscraper[dot]org to assure admittance to the event. Please be aware that reservation priority is given to members of The Skyscraper Museum.
From irrefutable icons to lesser-known structures throughout the city, much of what makes New York City unique owes its existence to the New York City Landmarks Law. Born out of the destruction of McKim, Mead & White’s monumental Pennsylvania Station, the Landmarks Law established the parameters for protecting the places that represent New York City’s rich cultural, social, political, and architectural history. Today there are more than 31,000 landmark properties woven into daily life, many located in 111 historic districts across the city — including 1,347 individual buildings, 117 interior landmarks, and 10 scenic landmarks.
Published in celebration of the 50th anniversary of the passage of the Landmarks Law, and a major exhibition at the Museum of the City of New York,Saving Place tells its story in essays by notable New Yorkers and preservationists, including Robert A.M. Stern, Adele Chatfield-Taylor, Andrew S. Dolkart, Françoise Bollack, Anthony C. Wood, and Claudette Brady.
Andrew S. Dolkart is the Director of the Historic Preservation Program and Professor of Historic Preservation at Columbia University’s Graduate School of Architecture, Planning and Preservation. He is the author of numerous books on the architecture and urban development of New York City, focusing in particular on the city's everyday, vernacular building types, including Morningside Heights: A History of Its Architecture and Development, Biography of a Tenement House in New York City: An Architectural History of 97 Orchard Street, and The Row House Reborn: Architecture and Neighborhoods in New York City 1908-1929.
All book talks are free and open to the public. The Gallery opens at 6:00pm.
All guests must RSVP to programs[at]skyscraper[dot]org to assure admittance to the event. Please be aware that reservation priority is given to members of The Skyscraper Museum.
CALL FOR PAPERS
OLFACTION and Preservation
Special issue co-edited by Adam Jasper and Jorge Otero-Pailos
Deadline September 30th, 2015
Future Anterior invites essays that explore the relationship between olfaction and preservation from historical, theoretical and critical perspectives. We seek scholarly papers that take stock of the recent surge of interdisciplinary research on olfaction and speculate on its relevance and impact on the practice of preservation.
Whether deodorized or artificially scented, the olfactory signature of historic buildings is rarely haphazard. Yet the conscious practice of altering smells in order to influence how visitors experience heritage is rarely subjected to serious scholarly scrutiny. In part this might be due to the fact that most preservationists lack training in olfaction. This deficiency is arguably cultural and as old as preservation itself. In 1857 the English polymath George William Septimus Piesse wrote: “Of the five senses, that of smelling is the least valued, and, as a consequence, is the least tutored; but we must not conclude from this, our own act that it is of insignificant importance to our welfare and happiness.” Piesse was writing during a period in which miasmatic theories of disease transmission held sway. He believed training the nose was useful for detecting disease-carrying airs. Whereas the 18th and 19th centuries had a horror of the effects of the stagnation of air, in contemporary hygiene aesthetics, the sterile separation of spaces via glass and ceramic tiles is privileged. To what extent can historical case studies of public beliefs (justified or not) regarding odor, hygiene and disease inform an understanding of interior space, and its concomitant implications for architectural preservation?
Today, we think of the uses of olfaction more in terms of enhancing memory and recollection, as advances in neuroscience have taught us that the region of the brain that processes smell is the limbic system, which is directly linked to the hippocampus and the amygdala, where emotions are registered and memories stored. The powerful connection between smell, memory, and emotions encouraged preservationists to experiment with scenting historic sites in the 1980s. A pioneering example is the Jorvik Viking Center in York, England, designed by John Sunderland, who conceptualized smell as a central element of what he called “time warp experiences.” Papers may examine the history, successes and failures of olfactory design in preservation projects. To what degree did the introduction of manufactured smells as part of historic buildings reinforce or challenge previous conceptions of preservation? For example, how could the focus on smell inflect debates about the authenticity of historic buildings?
Papers might also consider whether the construction of smells can be thought of as part of the history of building technology, and the modern pursuit of the well tempered and attractively scented environment. Whether deceitful or not, the reality is that we are in the midst of an explosion in the use of unique fragrances in branded spaces, such as luxury hotels or retail spaces. How can we square off the experimental preservation uses of smell with the wider contemporary trend to scent commercial environments?
The scenting of historic sites can be, and often is, dismissed as a gimmick to attract more visitors. Papers can examine why historically smell has been so easily employed or construed as a deceitful lure. If the low evidentiary value attributed to smell is due to the difficulty in objectifying or documenting it, this status should change. It is now possible to document the smells of contemporary buildings and to archive them along with more traditional records such as photographs and architectural drawings. A transformative moment in the history of smell technology was Roman Kaiser’s invention of Headspace in the 1970s, which automated the field documentation of smells, and made it possible to artificially emulate practically any smell.
What standards should this emerging documentary practice follow? What schemata are available for the categorization of historic smells? The language of smell is here a central concern. The description of smells proceeds entirely via euphemism. As Kant wrote in Reflexionen zur Anthropologie, “all the senses have their own descriptive vocabularies, e.g. for sight, there is red, green, and yellow, and for taste there is sweet and sour, etc. But the sense of smell can have no descriptive vocabulary of its own. Rather, we borrow our adjectives from the other senses, so that it smells sour, or has a smell like roses or cloves or musk. They are all, however, terms drawn from other senses. Consequently, we cannot describe our sense of smell.” Would it be appropriate to categorize the smell of historic buildings according to their visual styles (eg. Gothic, Barroque, Neo-classical, Art Deco, Modernist, etc)?
Within flavors and fragrance companies, "fragrance wheels"—in which families of smells are arranged in an analog of the spectrum of visible colors—are often used as mnemonic and communicative devices. Other schemes array scents on musical scales, or in n-dimensional space. We also have taxonomies of scents from Carl Linnaeus (1756), Zwaardemaker (1895), Crocker and Henderson (1927), and Jellinek (1951), amongst many others. The enormous variety of such representations, which may be indispensable in the effective communication of olfactory experience, attests to their current insufficiency. What developments are to be expected on this front? Can the conventional language of smell be satisfactorily formalized for professional preservation use?
In recent years, studies of the smells of decomposing materials point to a promising new form of non-destructive testing for historic architecture, and a new science of “material degradomics.” Exemplary applications include the “Heritage Smells!” project led by Lorraine T. Gibson, which analyzes the gases emitted by heritage objects to establish their state of decay. The ambitious project involves scientists and conservators from the British Museum, the University of Strathclyde, University College London, the National Records of Scotland, English Heritage and the British Library. What are the current limits to, and the necessary preconditions for the technological study of olfaction for architectural preservation? What new possibilities are offered by corpus analysis, data mining and other research techniques in the digital humanities in determining historical perceptions and theories of smell? How can these techniques best be disseminated, applied and critiqued?
Papers might examine the long history that precedes the current interest in measuring decomposition through smell. One interesting precedent is the Henning Odor Prism, or Henning Olfactory Prism (1915–1916). While scents may have much in common, according to the Henning prism they differentiate themselves from each other in their odor profile during decomposition. The Henning Prism therefore suggests the possibility of charting “smell trajectories,” that is, the characteristic changes in smell as a perfume’s volatile top note lifts to reveal its middle and base note, as a fruit ripens, or as an organic product undergoes metabolic decomposition. What are the prospects for developing an understanding of how the smell of a building will naturally change over time?
We also welcome papers that examine the relationship between olfaction and urban preservation. From the characteristic odors of the Renaissance city, through the great stenches of London and Paris in the nineteenth century, to the rise in synthetic deodorants in the twentieth, the smell of the historical city undergoes change. As Rudolph el-Khoury writes in Polish and Deodorize, "Urban historians have indeed spoken of a Copernican revolution in the Enlightenment's conception of a city. Beauty, once the governing principle of urbanism, is claimed to have been overthrown by health, hygiene and physiology". In particular, the public fear of disease engendering miasmas, and more specifically the telluric emanations of interior walls, had a significant impact on both urban planning (Haussmann’s sewers) and interior architecture (in particular wallpaper) in 18th century France. To what extent is the sense of smell, our tolerance of certain odors, its thresholds and affective categories, also historically determined?
CFP: New Perspectives on Medieval Rome (2 sessions)
International Congress on Medieval Studies, May 12–15, 2016
University of Western Michigan, Kalamazoo, MI (USA)
Sponsored by the Italian Art Society, www.italianartsociety.org
Submission Deadline: September 15, 2015
Marius B. Hauknes, Andrew W. Mellon Postdoctoral Fellow, Johns Hopkins University
Alison Locke Perchuk, Assistant Professor of Art History, California State University Channel Islands
Call for Papers
Digital, environmental, material, Mediterranean, sensory, spatial: these are among the recent “turns” taken by the medieval humanities, including art history. The new perspectives on the past opened by these approaches, many of which are informed by interdisciplinary research and contemporary cultural interests in the natural and built world, are fundamentally reshaping how we conceive of and study medieval art and architecture. In the field of medieval art, the city of Rome has traditionally been a key site for the formulation of innovative avenues of approach, but what are its current status and its potential in relation to the discipline’s new discourses? These two linked sessions seek to assess the impact of recent methodological developments on the study of the art, architecture, and urban forms of Rome during the long middle ages, ca. 300–1500. We invite papers that offer new research on, and new ways of thinking about, the visual and material culture of medieval Rome. Possible topics and perspectives include but are not limited to:
• Questions of reception and sensory experience of art, architecture, and material culture, including problems of agency and efficacy; the differing cultural and social perspectives of historical observers, the role of vision vis-à-vis other bodily senses, virtual and imaginary experiences of medieval Rome’s monuments, and concepts of animation in medieval artistic practice and contemporary theory.
• Questions of mobility and cultural exchange in the study of the visual and material culture of medieval Rome; the effects of trans-regional intellectual and artistic exchange on distinctively Roman representational practices, the place of Rome within artistic, cultural, and commercial networks.
• Eco-critical, environmental, and material perspectives on the art, architecture, and urban forms of medieval Rome; the physicality of built and natural environments, expressions of physical and spiritual topographies, and the relationship between matter and meaning in artistic and religious practices.
• Newly discovered or previously overlooked works of art and architecture that challenge traditional art historical narratives; new knowledge and insights provided by technical art history and conservation; re-assessments of the historiographic lives of artists, objects, and monuments; advantages offered by comparative analyses between the art and architecture of medieval Rome and that of other cultures and historical periods.
The two sessions will serve as a forum for productive and collaborative dialogue among emerging, mid-career, and senior scholars whose work places the study of medieval Roman art and architecture in dialogue with broader methodological, technological, and theoretical developments in the discipline and in the humanities.
Please direct inquiries/submissions to the organizers at email@example.com and firstname.lastname@example.org. Information about the conference, including proposal submission forms, may be found at http://wmich.edu/medieval/congress/submissions/index.html.
Speakers do not need to be members of the Italian Art Society at the time of their proposal. It is, however, expected that those not already members will join prior to the conference. Limited travel funds are available on a competitive basis through the Italian Art Society. See www.italianartsociety.org for additional information.
The International Sculpture Center will travel to Phoenix, Arizona this November 4-7, 2015 for its first conference in the American Southwest. Inspired by exploration in art and architecture in desert landscapes, the 25th International Sculpture Conference will bring together artists, arts administrators, curators, patrons, students, and sculpture enthusiasts for new discoveries in the field of sculpture.
Registration is open now! This four day conference will include 14 conference sessions including panels, keynotes, mentor sessions, and ARTSlams; evening receptions at Bentley Gallery, Bollinger Atelier; the David and Gladys Wright House; and Scottsdale Museum of Contemporary Art, among others; a city-wide Gallery and Studio Hop; and much more. Pre- and post-conference hands-on workshops and optional trips will also be available (additional fees apply). Visit www.sculpture.org/az2015 to register now and for more information. Registration closes September 30, 2015.
This one-day symposium at University of Brighton on 27th November 2015, considers design, in its broadest definition, as a tool of government diplomacy from the early Cold War to the present day. We wish to combine a range of interdisciplinary perspectives to consider how design has been, or is, used as an object of diplomacy, with a particular intention to extend the discussion beyond the geographies and administrations which are often the focus of historical accounts of this period (i.e. Europe-USSR-America). ‘Design’ is defined very broadly to include exhibitions; monuments; buildings; interiors; transport; dress; design products; design interaction; design systems; craft and graphic design.
The Summer School will take place from Saturday, August 22nd, and last until August 31st. The workdays are beginning at 10:00 AM lasting until
07:00 PM (including 1 hour lunch break). The program of the School is divided into two modules. Both modules are focusing on earth architecture of Vojvodina - the adobe and rammed earth.
MODULE 1 - CONSTRUCTION OF THE ELEMENTS OF EARTHEN ARCHITECTURE: OVEN BUILDING. MAINTENANCE AND RESTORATION This module will begin on 22th of August and will last for four days.
The goal of the module is to build the traditional bread oven in the household in the town. The lectures and the workshops, provided by the team of the Earth and Crafts Centre for Earthen Architecture, will focus on the process of material search, testing and preparation, the preservation actions and crafts expertise. MODULE 1 will include preparation works, mud tests, introduction to basic earth building techniques and building a bread oven, followed with the series of lectures on heritage protection and good practices.
The necessary expertise for the heritage protection will be provided by the Institute of History of Art, Building Archaeology and Restoration, Faculty of Architecture and Planning - Vienna University of Technology
MODULE 2 - ENERGY MONITORING IN CULTURAL HERITAGE This module will begin on 28nd of August and will last for four days.
The goal of the module lectures and workshops is to develop the fitting method for the energy survey, monitoring and management for protected areas. The module will build on the data, harvested from the equipment deployed on site during the previous school, as well as the research done by the team of the Faculty of Architecture University of Belgrade & Nekoliko arhitekata design studio, developed for the project of National typology of residential architecture in Serbia.
Workshop of structure surveying will follow MODULE 2, demonstrating the available tooling for the purpose of heritage preservation.
Prior to Module 2, a study trip will be organized, for the purpose of visiting an example of good practice in sustainable built.
A detailed certificate will be provided by the organizer for the purpose of obtaining ECTS credits.
We are inviting international participants: professionals and students of architecture, technology, civil engineering, sustainable building, building physics, architectural conservation and art history, as well as the enthusiasts.
COSTS AND FEES
The early bird registration fee is 200 EUR (100 EUR per module, 25 EUR per day) and includes costs of tuition (workshops + lectures), working material and boarding (three meals per day + accommodation). We provide accommodation in near-by boarding house (mostly dormitory-style). Fees do not include travel costs.
Given the hands-on character of the Summer School, it is mandatory to bring your own laptop. Internet connection will be provided by the organizer. The installation of required (free) software will be communicated in a timely manner.
The early bird prices are available until the July 20th 2015.
The full price is 250 EUR for entire 10 days course (workshop and field trip included) of 120 EUR per 4 days module. It is possible to attend daily program as well, paying the price of 30 EUR per day.
The Avery Review is seeking submissions.
Following on this December’s United Nations Climate Change Conference in Paris, the Avery Review is announcing an open call for contributions to our forthcoming print edition on the intersections of architecture and climate change. In it, we hope to continue exploring the many ways that design thinking both reveals and reacts to the exigencies of environment.
Submissions should consider what we talk about when we talk about climate, particularly within the disciplinary purviews of architecture and its allied fields. How does climate inflect our understanding of things like human settlement, global migration, spatial violence, and resource extraction? How does climate figure, historically and at present, in our conception of what architecture is and does? What are the material and conceptual infrastructures that render climate legible, knowable, and actionable, and what are the spatial implications of these infrastructures? How do these interrelated questions offer new vantage points on the architectural ramifications of climate change, extending and amplifying our understanding of ideas like resiliency, sustainability, and ecotechnology? In short, we seek reviews of “climates” in architecture.
Please read the detailed brief on our website, and submit essays by October 16, 2015.
Stanford, Calif.—A major exhibition of Giovanni Battista Piranesi’s last master works—15 exquisitely rendered drawings made in 1777 of three ancient Greek temples in Paestum, southern Italy—opens at the Cantor Arts Center on August 19.Piranesi’s Paestum: Master Drawings Uncovered, which also includes prints and rare books of the period, sheds new light on this celebrated 18th-century artist’s working method and on the considerable impact of his oeuvre on 18th- and 19th-century architectural taste. The Cantor is the only West-Coast venue for this exhibition, which originated at Sir John Soane’s Museum, London.
While Piranesi (1720–1778) is primarily known as the creator of such famous print series as the Vedute di Roma and especially the Carceri d’Invenzione (see biographical paragraph below), this exhibition focuses on some of his rare drawings. The Paestum drawings are Piranesi’s most extensive body of work devoted to a single topographical site.
Made in preparation for his Différentes Vues…de Pesto—a book finished by his son, Francesco, and published posthumously in 1778–79—the drawings depict views of the three great Doric temples in the former Greek colony of Poseidonia, which in the third century B.C. was conquered by the Romans and renamed Paestum. (The temples were originally identified as the Basilica, the Temple of Poseidon and the Temple of Juno or Ceres, but are now determined to have been dedicated to Hera I, Hera II and Athena.) Left abandoned and cut off by a swamp, Paestum’s ruins were rediscovered in 1746 thanks to the construction of a new road. They sparked intense interest among artists and architects including Piranesi, and the consequent drawings, prints, paintings and models of the temples revolutionized people’s understanding of early Greek Classical architecture in general and the Doric style in particular. Roman architecture, until this time deemed the style that architects should emulate, now seemed derivative.
The drawings on view are also unusual within Piranesi’s portfolio due to their level of detail. Although Piranesi made preparatory drawings for most of his famous etchings, he typically drew the majority of his composition directly onto the copper plate at the engraving stage. These drawings, however, contain details very close to those of the finished prints, and it is speculated that Piranesi, aware of his failing health, included as much detail as possible so that Francesco could finish the work that his father had begun. Piranesi uses the full repertoire of his draftsmanship to create images that artistically represent the architecture of the Paestum temples and also bring out their evocative, rustic setting. Meanwhile the consecutive application of pencil, brown and grey washes, and pen and ink—sometimes with the addition of red chalk or white chalk highlights—creates a layered effect comparable to the repeated bitings used during the printing process.
Piranesi also employs the scena per angolo, a drafting method developed by 18th-century Italian stage-set designers, which replaces a drawing’s traditional, one-point perspective with several diagonal axes, thereby allowing the artist to open up the three-dimensional space for greater dramatic effect. This method was especially useful in a setting like Paestum, where many spectacular vistas were visible through the temples’ colonnades.
Well-known British architect and collector Sir John Soane, whose own oeuvre was deeply inspired by classical architecture, acquired these drawings at an auction in 1817. Since then the works have been held in the collection of a museum that Soane established in his own house after becoming a professor of architecture at the Royal Academy.
The Cantor has augmented Piranesi’s drawings with prints that include a portrait of Piranesi by the Italian artist Francesco (“Felice”) Polanzani (c. 1700–after 1783), and rare books by British and French architects who explore the importance of early Greek architecture both in Greece and in the Magna Graecia region (Southern Italy and Sicily). The books are on loan from Stanford University Libraries, Department of Special Collections; University of California, Berkeley’s Environmental Design Library; and the University of Chicago Library, Special Collections Research Center.
Wim de Wit, the Cantor’s adjunct curator of architecture and design, is delighted that the Cantor has brought this important exhibition to Stanford University and the greater Northern California community. “These drawings are unique works of art created by one of the most ingenious artists of late-18th-century Italy, and they have never been displayed anywhere outside Sir John Soane’s Museum in London until this exhibition tour,” said de Wit. “The exhibition also raises important questions about why the drawings were made and when, about the relationship between the artist’s drawings and the finished prints and about the late-18th-century revival of interest in the Doric style.”
Exhibition Organization and Support
This exhibition was organized by Sir John Soane’s Museum, London. We gratefully acknowledge support for the exhibition’s presentation at the Cantor from John A. and Cynthia Fry Gunn, Frances and Theodore Geballe's Pre-19th-Century European Art Fund, and Mary Anne Nyburg Baker and G. Leonard Baker, Jr.
Giovanni Battista Piranesi
Piranesi was born in 1720 in Mogliano Veneto, north of Venice. As a young man, Piranesi studied architecture under his uncle Matteo Lucchesi, a Venetian engineer who served as the magistrate of waterworks. He also learned etching and engraving under Giuseppe Vasi, and often visited Giovanni Battista Tiepolo, one of the great painters of his day. Around 1745, after his move to Rome, he began two projects that brought him fame: Carceri d’Invenzione, a fantastical series of 16 prints showing enormous subterranean vaults filled with labyrinthine staircases and massive machines, and Vedute di Roma, views of Rome depicting both the modern city and its ancient ruins. Later in his life he devoted himself to the measurement of many ancient Roman structures, which led to the publication of Roman Antiquities of the Time of the First Republic and the First Emperors. He also opened a printing facility, embarked on the restoration of Santa Maria del Priorato church in the Villa of the Knights of Malta in Rome, became a member of the Accademia di San Luca and was made a knight of the Golden Spur. He created his last master works, the Paestum drawings, at the end of a long illness, and died in Rome in 1778.
Cantor Arts Center
The Cantor Arts Center at Stanford University is a vital and dynamic institution with a venerable history. Founded in 1891 with the university, the historic museum was expanded and renamed in 1999 for lead donors Iris and B. Gerald Cantor. The Cantor’s encyclopedic collection spans 5,000 years, includes more than 40,000 artworks and beckons visitors to travel around the world and through time: from Africa to the Americas to Asia, from classical to contemporary. With 24 galleries presenting selections from the collection and more than 20 special exhibitions each year, the Cantor serves Stanford’s academic community, draws art lovers from the San Francisco Bay Area and beyond and attracts campus visitors from around the world. Free admission, free tours, lectures, family activities plus changing exhibitions make the Cantor one of the most well-attended university art museums in the country and a great resource for teaching and research on campus.
Throughout his career, Cliff May’s ideas about “home” and “western living” continuously evolved. In his search for a house best suited for California, May looked to local, indigenous dwellings scattered throughout Southern California for inspiration. The thick, adobe walls and red tile roofs of the California Missions suggested materials best suited for the desert climate, while the enclosed courtyard and inward focus of early haciendas and rancherias provided a model for outdoor living.
Cliff May and the California Home traces the development of the twentieth century ranch house as a building type through the work of designer and builder, Cliff May. From May’s first family residence, “Cliff May House 1,” to “Cliff May House 5,” May incorporated ideas about modern living into designs that were inspired by and distinctly tied to the history of the Southern California landscape. Each of his homes responded to the needs of modern life and established the idea of the California lifestyle as relaxed, easy living with a connection to the outdoors. The objects chosen for this show highlight this relationship.
From the framed courtyards and patios of his early designs to the glass skylights and sprawling plans of his later work, May relied on the form of the ranch house to establish the idea of the California lifestyle; relaxed and informal outdoor living.
The CBU Gallery is open Tuesday - Saturday, 12noon - 8:00pm. Join us on Friday, July 10 for a 6:00pm screening of LUTAH followed by Q&A with archivist Melinda Gandara.
An exploration of China through the lens of filmmaker and anthropologist J.P. Sniadecki.
A researcher from Harvard’s revered Sensory Ethnography Lab (from which has come films such as Leviathan (2012) and Manakamana (2013)) Sniadecki’s singular, experimental and engaging work continually breaks its own fourth wall, blurring the line between documentary and art in its search to reveal the construction of places, people and film itself. This screening presents two of Sniadecki’s works in London for the first time, using a pair of infrastructural arteries – one ecological, one industrial – to reveal keen insights into the labour, life and economy of a nation on the move.
The Iron Ministry
The Iron Ministry offers a vital armpits-and-all social portrait of China via the mobile microcosm of a journey on what will soon be the world’s largest railway network.
A montage of multiple rail journeys into one, the film offers audiences a trip in a cinematic carriage, in which ongoing changes in China’s society and economy, technology and development, hopes and fears, all ride. Both painting sensorial pictures and engaging passengers in intimate dialogue, the camera becomes a fellow passenger of the train – both a participant and an observer – in the film’s non-narrative investigation into the realities of contemporary China, the passage of modernity, and the possibilities of documentary form.
“[The film’s accomplishment is found in the encounters between the many elements that went into the making of the film...] The classic, iconic, and clichéd encounter between the railways and cinema; the encounter between human beings and the physical/architectural space of each train car (and how that encounter shapes bodies, postures, gestures, interactions, etc); the encounters between passengers – and between passengers and the filmmaker – within the fleeting social space that each train car creates; the encounters between ideologies, motivations, aspirations, and values within those encounters; and the encounter between a filmmaker and a small hand-held consumer camera and the cinematography that it produced.”
– J.P. Sniadecki
China/USA, 2014, J.P. Sniadecki, 82 mins. Mandarin with English subtitles.
In 1908, Frederick Robie, a young Chicago businessman, hired Frank Lloyd Wright to build a modern home for his family. Robie wanted a house with wide open rooms filled with light, and great views of the surrounding neighborhood. Robie described his new home as “the most ideal place in the world.”
What would your ideal home look like? Would it have a pool, a green roof, lots of windows, or how about an indoor slide instead of stairs? Let your imagination run wild and try your hand at constructing your perfect home from cardboard and found objects. Supplies will be provided, but participants are encouraged to bring their own objects to add to their constructions.
Wright’s architectural masterpiece is the venue and you are on the guest list. Gather with friends as the Robie House comes to life after hours. Wander the celebrated spaces of this icon of modernism while enjoying live music, drinks, light hors d’oeuvres and a festive, casual atmosphere.
July 17 is the anniversary of the first public tour given in 1974 at the landmark Frank Lloyd Wright Home and Studio. Join us for a free Open House from 5 pm to 8 pm. Enjoy free tours and refreshments, work on an art project in the courtyard, and pose for pictures with Frank.
Work with great architects, designers, engineers and mentors from the Chicago area! Our hands-on, studio-based workshops offer design challenges and real-life problem-solving. Come explore the exciting worlds of architecture, engineering and construction with the CAF team. These events are free and open to all teens.
Many long-vacant historic office buildings are benefiting from Chicago’s ambitious tourism goals, as hotel conversions are popping up all over the loop. Will we continue to see more hotels like the Virgin, LondonHouse at the London Guarantee, and the Chicago Athletic Association step in and bring new life to historic buildings?
- John Rutledge, Founder, President & CEO, Oxford Capital Group, LLC; developer converting the London Guarantee Building into LondonHouse
- Cindy Chan Roubik, ALA, LEED AP, Preservation Architect, City of Chicago Historic Preservation Division
- Paul Alessandro, LEED AP BD+C, NCARB, Principal, Hartshorne Plunkard Architecture; architect of Chicago Athletic Association Hotel and the Hampton Inn at the Chicago Motor Club Building
- Moderator: Chris Bentley, Midwest Editor of Architect’s Newspaper and WBEZ contributor
To encourage the integration of Byzantine studies within the scholarly community and medieval studies in particular, the Mary Jaharis Center for Byzantine Art and Culture seeks proposals for a Mary Jaharis Center sponsored session at the 23rd International Medieval Congress, University of Leeds, July 4–7, 2016. We invite session proposals on any topic relevant to Byzantine studies.
The thematic strand for the 2016 IMC is “Food, Feast & Famine.” See the IMC Call for Papers (https://www.leeds.ac.uk/ims/imc/imc2016_call.html) for additional information about the theme and suggested areas of discussion.
Session proposals should be submitted through the Mary Jaharis Center website site (http://maryjahariscenter.org/sponsored-sessions/23rd-international-medieval-congress/). The deadline for submission is August 31, 2015. Proposals should include:
-100-word session abstract
-Session moderator and academic affiliation
-Information about the three papers to be presented in the session. For each paper: name of presenter and academic affiliation, proposed paper title, and 100-word abstract
Successful applicants will be notified by mid-September if their proposal has been selected for submission to the International Medieval Congress. The Mary Jaharis Center will submit the session proposal to the International Medieval Congress and will keep the potential organizer informed about the status of the proposal.
If the proposed session is approved, the Mary Jaharis Center will reimburse session participants (presenters and moderator) up to $500 maximum for EU residents and up to $1000 maximum for those coming from outside Europe. Funding is through reimbursement only; advance funding cannot be provided. Eligible expenses include conference registration, transportation, and food and lodging. Receipts are required for reimbursement.
The session organizer may act as the moderator or present a paper. Participants may only present papers in one session.
Please contact Brandie Ratliff (email@example.com), Director, Mary Jaharis Center for Byzantine Art and Culture with any questions.