The theme of this year's conference will be Artifice and Authenticity in Architecture! To Play or Not To Play? Ashland is home to one of the greatest Shakespearean festivals in the U.S. but the area is also a mecca for heritage tourism. We plan to look at the architecture of both realms during our three day conference.
The Call for Papers is now available. The deadline for submissions is May 12, 2015.
The conference hotel will be the Best Western Bard's Inn. Mention "SAHMDR" and you will receive the conference rate of $120 per night for two queen beds or $110 per night for one king bed. Hotel tax rate is 10%. The Bard's Inn is located at 132 N Main St, Ashland OR 97520, within walking distance of our principal venue. The rate will be held until September 22, and is available for the nights of October 22-24, 2015. Call 541-482-0049 or 800-533-9627 for reservations. There is a limited supply of conference-rate rooms so make your reservation soon.
All of our past conference documents are stored in the University of Oregon archives. However, since 1999, we have been saving our past conference programs and reports on our website. Photos since our 2011 conference are stored on our Flickr account. If you have photos you would like to share, send them to the contact email address below and we will post them with full credit due.
An international conference exploring participative design, spatial justice, social housing, co- housing and new ways to imagine housing in the 21st Century.
Rory Hearne, Dept. Geography NUI Maynooth, social justice and housing advocate; Teddy Cruz (via Skype), Architect, Estudio Teddy Cruz, and activist, San Diego; Andrea Phillips, Goldsmiths University, London; LiD Architecture, architects Donegal/Berlin; Studio Weave, architects London; Jo Gooding, UK Cohousing Network, Co-ordinator; Emma Geoghegan, Meme Architecture and DIT Architecture; Susanne Hofmann, Baupiloten, Berlin; Aaron Kauffman, Hudson, New York; Cllr. Ciarán Cuffe, Urban Regeneration and Development Dept. DIT
Call for ideas:
We are now accepting proposals. Our conference will include talks, panel discussions and smaller active workshops. Are you someone with particular housing needs? Are you an architect/designer, researcher, artist, student, activist? Are you a group or an association of people who are tackling a particular housing issue? We are looking for innovative thinking, projects and lived experience to contribute to the breadth of this conference. If you would like to contribute please submit a 250 word outline of your proposal firstname.lastname@example.org / Deadline March 24th at 5pm.
Conference coincides with a presentation of films, images, and research materials from Nimble Spaces: Enabling Design, documenting long term collaborations between artists, architects and adults with a disability, considering ‘home’ and shared living. Process Space, VISUAL Centre for Contemporary Art, 13 April to 03 May 2015.
Date: 1st May 2015
Time: 9.30 – 5.30pm
Tickets: €60 full price / €20 reduced price (Lunch included in tickets) Venue: VISUAL Centre for Contemporary Art, Carlow
Booking: visit visualcarlow.ie or call 059 9172400
Only three places left!
This three-week intensive undergraduate, graduate and continuing education course brings participants together to learn hands-on about documenting, interpreting and developing historic preservation strategies for a historic ensemble in the Gaspe region of Quebec, Canada, to take place from 11 May to 29 May 2015 inclusively.
To register or to obtain more information : https://www.arc.ulaval.ca/programmes/patrimoine-bati-paysages-culturels.html?L=EN
Register before 10 April 2015.
Location of field school: Cap-aux-Os and Forillon National Park of Canada in
Gaspé, Québec, Canada
Fall Conference: November 20 & 21, 2015
Center for Historic American Visual Culture (CHAViC)
American Antiquarian Society, Worcester, Massachusetts
Moving Pictures: Images Across Media in American Visual and Material Culture to 1900
Deadline for proposals: May 15, 2015
The fall conference of the Center for Historic American Visual Culture (CHAViC) at the American Antiquarian Society will explore the diversity of uses of the printed image in early America. We seek paper proposals that consider imagery found historically in more than one medium in both two and three dimensional format. Examples might include printed scenes reproduced on transfer-printed ceramics or on textiles, daguerreotypes as sources for lithographs, petroglyphs or pictographs reproduced as prints, imagery from maps or published engravings depicted on powder horns, magazines and broadsides as pictorial sources of scrimshaw, tattoo imagery on skin and on paper, uses for pattern book imagery, and the crossover of engravings on paper to silver or glass.
Proposals are encouraged from disparate disciplines including art and architectural history, material culture studies, history, media and visual studies, landscape studies, anthropology, English, and American studies.
Please send proposals (not to exceed 250 words) for 20-minute presentations along with a CV (not to exceed 2 pages) to Nan Wolverton, Director of CHAViC, at email@example.com. The deadline for submissions is May 15, 2015.
For further information, please contact Nan Wolverton, firstname.lastname@example.org or Paul Erickson, email@example.com.
See website CFP at: http://www.americanantiquarian.org/chavic-call-papers
"A Home for Art: Edward Larrabee Barnes and the KMA" presents an overview of Barnes’ career and role in modern architecture, including a close look at the many Westchester homes he designed. With an architectural practice based in Manhattan, Barnes raised his family in Mt. Kisco, and the story of Barnes’ relationship to the Katonah Museum of Art crosses the worlds of business, art, and family life. The exhibition includes archival material from the Katonah Historical Society as well as photographs, drawings, and blueprints from the Loeb Library at the Harvard Graduate School of Design. Video interviews with those who knew Barnes and collaborated with him on the Museum project reveal a much beloved member of the community and an unassuming local celebrity.
"Chris Larson: The Katonah Relocation Project" is inspired by the astounding tale of Katonah’s relocation in the late 19th century. When multimedia artist Chris Larson heard about it, he knew he had stumbled upon a strange and inspiring story. Forced from their original location by the building of the Cross River Reservoir, the townspeople came up with a plan—they lifted their homes onto logs to be pulled by horses along soap-slicked timbers, re-siting their town to present-day Katonah. Tying this remarkable history of relocation to the building of the Katonah Museum of Art by local architect Edward Larrabee Barnes, Larson replicates Barnes’ private Mt. Kisco home at full scale in the sculpture garden. With a nod to the Katonah narrative, he constructs the modernist structure as if it were dragged in on logs, elevated on timber cribbing, and pierced through by the Norway spruce trees. Additional works in the galleries, including some cast in soap, respond directly to Katonah’s history and culture. A 2014 Whitney biennialist, Larson is a multimedia artist known for his sensitive and often dramatic responses to architectural environments and histories.
Both exhibitions will be on display from March 29 – June 28, 2015. The Museum is open Tuesday through Saturday, 10am-5pm, Sunday 12-5pm, Closed Monday.
Admission: $10 general, $5 for seniors and students; members and children under 12 free.
Katonah Museum of Art
134 Jay Street (Route 22)
The Katonah Museum of Art (KMA), located at 134 Jay Street (Route 22) in Katonah, NY, is a cultural destination offering changing exhibitions that feature art from all cultures and time periods. The Museum attracts visitors from Westchester and Fairfield Counties, as well as the larger tri-state region. Located at the northern end of Katonah’s “Museum Mile” just off of Route 22, and neighboring John Jay Homestead and Caramoor, the Katonah Museum of Art is a two-minute taxi ride from the Katonah Metro North train station.
The KMA offers lectures, workshops, concerts and other events for a general audience, as well as innovative and substantive programs for over 100 member schools. The Learning Center is an interactive space where children can come on a daily basis to explore and create art. Among the many programs for children and families are Stroller Tours, Family Days, Saturday Story Time, Schools Out/Arts In vacation day programs, and art classes for children ages three through twelve. The Museum’s innovative Arte Juntos/Art Together program for new immigrant families has been recognized as a model program by the federal government.
The KMA mounts multiple exhibitions per year in its main galleries, Sculpture Garden, and Learning Center. Influential modernist architect Edward Larrabee Barnes designed the 10,000 square-foot building.
The Katonah Museum of Art is located at 134 Jay Street (Route 22) in Katonah, NY. For information call 914-232-9555 or visit www.katonahmuseum.org
Tuesday through Saturday, 10am-5pm, Sunday 12-5pm, Closed Monday.
Admission: $10 general, $5 for seniors and students; members and children under 12 free.
Free Docent-Led Guided Tours: Tuesday through Sunday, 2:30 pm. Tours are free with Museum admission.
In the midst of the technological advancement in the areas of representation, digital design/fabrication, and constructional and structural methods, and of the urgency to cope with the environmental exacerbation, history stands at another critical moment. Beyond being a discipline of historiographical classifications, history has to approve its resilience and relevance to the contemporary cultural, productive and environmental issues. This resuscitation of the role of history should not be seen as merely reactionary. Rather, as a leading historian wrote some decades ago, memory and its collective forms such as history and tradition are indispensible ingredients in every moment of the creation of inhabitable architecture and city. If memory is denied, as claimed, there is no humanity. Likewise, if collective memory is denied, there is no architecture and city, at least livable ones.
The EAAC International Conferences have operated as the platform for the exchange of ideas and for the formation of international networks by embracing researches of all periods, types and areas. Marking the beginning of the second phase since its initiation with the EAAC 2002 in Seoul, the EAAC 2015 continues to perform this significant role as the cohesive datum for historians, theoreticians, educators, designers and planners on an international scale. Hoping strongly to elevate the status of the EAAC to another level where it stands as a solid international entity with appreciable influences on the trajectory of the architectural and urban culture, however, it revolves around a specific aim that inquires into and resuscitates the practical role of history in architectural and urban endeavors. Here the practical must not be understood in the sense of the instrumental that would, for instance, petrify history into a portable catalogue of styles, codes and vocabularies. Rather, the practical must be understood in the sense of history operating as a horizon on which we always presently stand in acting upon a concrete everyday situation and in formulating a creative and ingenious fusion between what is given and what could be anticipated.
In this context, the EAAC 2015 seeks to reframe and revivify the role of history in reference to the issues of the contemporary period. Specifically, its goal is to explore new manners of conceptualizing and practicing historic preservation, new ways of fusing the past and the present in contemporary architectural and urban practices, enduring anthropological lessons for the construction of sustainable architecture and cities, reciprocities – not antinomies – between history and technology, various forms of significant cultural encounters and so forth. Below are the session themes:
1. Preservation of Artifacts and Heritages
2. Tradition and (Post) Modernity
3. Community, Town and City
4. Construction, Materials and Technology
5. Colonial, Post-Colonial and Cross-Cultural Encounters
Whether you’re planning to add a spacious new extension, create a stunning new kitchen or even build your own home, then a visit to the Scottish Homebuilding & Renovating Show is a must:
- Over 140 exhibitors, showcasing 1000’s of products
- Get free impartial expert advice from experts, planners and architects
- Bring your plans along and get an expert to review them in our Advice Centre
- Get half-price magazine subscriptions from our leading magazines: Homebuilding & - Renovating, Real Homes and Period Living
Dulux Design Clinic offering free personalised interior design consultations
Many of New York’s best interiors survive for a reason: people. In challenging the forces that nearly led to the destruction of such places as Grand Central Terminal and Radio City Music Hall, preservation advocates secured a future for an extraordinary interior design legacy that enriches our lives today. Kent Barwick, civic leader and former NYC Landmarks Preservation Commission Chair;Roberta Brandes Gratz, journalist and urban critic; and Francis Morrone, architectural historian, join preservation historian Anthony C. Wood for a checkup on the interior preservation movement, with an introductory overview byKate Wood, co-curator of NYSID’s exhibition, “Rescued, Restored, Reimagined: New York’s Landmark Interiors.”
Presented in collaboration with the New York Preservation Archive Project
NYSID Auditorium, 170 East 70th Street, NYC.
$12 General Admission
$10 Seniors and Non-NYSID Students
NYSID Students are Free
Eileen Gray, the Irish-born designer who was active in France during the 1910s and ‘20s, is considered one of the more talented figures in the history of modern design. She was the first European artist to adapt Asian lacquer techniques to furniture, a talented interior designer, and an avant-gardist whose house E1027, built in the French Riviera, is considered a masterpiece of Modernist domestic architecture. In a panel discussion — which includes Cloé Pitiot, curator at Centre Pompidou in Paris; Jennifer Goff, curator at the National Museum of Ireland; Adriana Friedman, DeLorenzo Gallery; and Sandra Gering, founder of the Friends of E1027 — design historian and educator Daniella Ohad will moderate and address the question: “Eileen Gray: Why Now?”
NYSID Auditorium, 170 East 70th Street, NYC.
$12 General Admission
$10 Seniors and Non-NYSID Students
NYSID Students are Free
Architecture is one the most antique cultural symbols of the human achievement. For some, it is an art; for others, it is just a craft. We experience it and are surrounded by buildings that decisively influence the way we live. Still, most of the times, this familiarity becomes a kind of invisibility and indifference. If we consider the architectural thought within a philosophical perspective we can understand its roots and its importance to human civilization, that is to say not only the idea of an object but also all the encompassed idea of a worldview.
The conference aims to promote high-quality research among young scholars in the fields of the relationships between Architecture and Philosophy. Our goal is to refresh the debate on questions such as how these two areas of study can work together and what can both approaches profit from each other. How can we discuss the idiosyncrasies of Architecture within a philosophical point of view, focusing its contemporary relevance? We invite all new understandings of the concept of Architecture, developing new configurations of debate and attempting an alternative theoretical device to the actual production.
Topics of interest might include (but certainly are not limited to):
– Contemporary Art and Architectural Theories
– Architecture, Design and Sculpture: the ‘paragone’ and the arts of space
– Spatial concepts and philosophy
– Architectural and philosophical systems
– Architecture as metaphor
– Authorship and style
– Public policies, morality and the city
– Architecture with/without architects
– Architecture and landscape
Submission procedures and deadlines
MA and PhD students of Philosophy, Architecture and related disciplines are strongly encouraged to submit proposals.
Abstracts of no more than 300 words are to be send to firstname.lastname@example.org no later than 1st June 2015. All presentations will be 15-20 minutes long and followed by discussion. Please send the abstracts as PDF files without identifying information and a separate document with a short biography (including degree currently under study, main publications and academic affiliation). Suggestions for panels are welcome and should be sent along with a statement outlining the panel’s relevance. The best papers selected by the scientific committee will be published.
Notifications of acceptance will be sent on 17th July 2015. The conference program will be announced by 30th July 2015.
There will be no registration fees for paper presentations.
Maribel Mendes Sobreira (email@example.com)
Tomás N. Castro (firstname.lastname@example.org)
Center of Philosophy of the University of Lisbon
Conference contacts and webpage
You will find updated information on the website https://philosophyarchitecture.wordpress.com.
If you have any inquiries regarding the conference, please feel free to email
email@example.com or the organizing committee.
Join us this month for ENCORE Architects Stefan Kaiser’s outcomes from the AIA Seattle Emerging Professional Travel Scholarship. Expanding tech offices in urban areas are reviving latent communities in San Francisco, Kansas City and Nairobi but the at the cost of increased housing prices and reduced diversity. Seattle’s evolving communities will be accompanied by a new civic identity. How will our future city be designed?
Dan Kiley (1912-2004) ranks as perhaps the most important and influential Modernist landscape architect of the 20th century. During his extensive career, he worked with equally significant architects, including Eero Saarinen, Louis Kahn and I.M. Pei, to create internationally acknowledged design icons. The exhibition features forty-five newly commissioned photographs by award-winning photographers that chronicle 27 of Kiley’s more than 1,000 public and private projects worldwide, among them: the Ford Foundation and Rockefeller University, both in New York; Kenjockety, the country home of the internationally famous NY-based sculptor Joel Shapiro and the artist Ellen Phelan; the John F. Kennedy Library in Boston, MA (a collaboration with I. M. Pei); the Miller House and Garden in Columbus, IN (a collaboration with Eero Saarinen, Kevin Roche and Alexander Girard), considered his residential masterpiece; the Jefferson National Expansion Memorial (a collaboration with Eero Saarinen and site of the Gateway Arch); L’Esplanade du Général de Gaulle, La Défense, Paris, FR; the Dallas Museum of Art, Dallas, TX; the Art Institute of Chicago, South Garden, Chicago, IL; and his final residential commission, Patterns, created for former Governor and Mrs. Pierre S. “Pete” du Pont IV, among others.
The exhibition has been shown at several institutions around the country, including the National Building Museum.
Proposals are welcome for the 13th Australasian Urban History/Planning History Conference (UHPH) to be hosted by Griffith University and held on the Gold Coast, Queensland between Sunday 31 January – Wednesday 3 February 2016.
The use of icons (projects, places, plans, people and/or practices) to tell stories of urban environments is longstanding. The stories which these icons produce tell us something about ourselves and our everyday urban lives, as well as the social, environmental, economic, political and cultural context of urban environments. They can also prompt questions about the histories and realities of the icons themselves. Moreover, cities increasingly strive for distinctiveness of some kind in an increasingly globalised world. This distinctiveness is frequently achieved through the making of new urban icons, visual, tangible, imaginary and or real. The striving for iconic status can be problematic when it marginalises and polarises people and ways of being. Meanings can also be ascribed which have little relevance to the wider urban context.
This conference offers a special opportunity to explore these histories of iconographies – past, present, prospective. Suggested sub themes relate to the histories and/or planning of the following in urban and regional settings:
1. New critical appreciations of neglected and established urban icons and icon-making processes.
2. Planning and development of hard and soft infrastructures, including monuments, buildings, streetscapes, precincts, landscapes, plans and projects, branding etc.
3. The import/export of iconic ideas.
4. The environmental impact of urban icons.
5. Dealing with the heritage of icons (cultural, natural, indigenous).
Papers should be based on original research and may focus on one or a combination of sub themes. In addition, proposals related to other aspects of urban and planning history, in and of relevance to Australia/New Zealand, are welcome. Full papers will be peer reviewed for publication in the conference proceedings. You are required to register and attend the conference for your paper to be published in the proceedings.
The Gold Coast provides a perfect example of an environment with a history constructed around the creation and representations of iconic forms. It has striven for ‘iconic’ status through adaptation from places such as Florida and California. It has sought hallmark events like the Commonwealth Games to be held in 2018. Its current light rail project emulates the global turn to sustainable transport infrastructure. And there are less glamorous stories below the glittering surface.
Abstracts of no more than 250 words should be submitted by 31 March 2015.
Abstracts are to be submitted on the attached abstract template and emailed to Caryl Bosman: firstname.lastname@example.org
Authors of accepted abstracts will be invited to submit full papers (4000 words text max) for publication in the peer reviewed conference proceedings.
A conference website with further information will be available soon.
Hosted by: Griffith University, Urban Research Program
Conference Convenors: Dr Caryl Bosman, Dr Aysin Dedekorkut–Howes and Paul Burton
Please contact Caryl Bosman on email@example.com
Distinctive tops that add extra height to high-rises have been characteristic of New York skyscrapers from the first tall office buildings in the 1870s. The word skyscraper, after all, evokes both aerial height and a slender silhouette. The romance of Manhattan's towers has been the inspiration and touchstone for a worldwide surge of signature tops. Stretched spires are also a strategy in the competition for the title of world's tallest building.
Top Ten lists hold a perennial fascination, and debating definitions of height has spawned three official line- ups based on different metrics: 1) the architectural top; 2) the highest occupied floor; and 3) the tip (including added antennas, flagpoles, etc.). But measuring only vertical height succumbs to one-dimensional thinking that ignores important features of skyscraper design and history.
TEN TOPS eschews rankings and focuses on one simple group of the world's tallest buildings: 100 stories and higher. The category begins with the 1931 Empire State Building and now includes nearly two dozen towers worldwide that are completed or under construction. Highlighting ten towers in their categorical context, TEN TOPS peers into their uppermost floors and analyzes the architectural features they share, including observation decks, luxury hotels and restaurants, distinctive crowns and night illumination, as well as the engineering and construction challenges of erecting such complex and astonishing structures.
An international conference and series of public lectures exploring bishops' and popes' palaces across Britain and Europe.
College Art Asssociation 104th Annual Conference.
Washington, DC, February 3-6, 2016
Histories of twentieth-century urban design have often cited the emergence of a so-called postmodern city around 1970, characterized aesthetically by pastiche or collage and politically by a neoliberal retreat from the public sphere. However, the hypothesis of the postmodern city depends upon a caricature of modernism that seems increasingly untenable. Modernist discourses on the open society, ecology, pluralism, and historical continuity often coincided with visual complexities or spatial discontinuities long before 1970. This panel invites papers that put “postmodern urbanism” into question by reconsidering the aesthetics and politics of twentieth-century urban. Topics might include the theorization of complexity in such movements as British Townscape; the role of social science in imagining cities as manageable “systems”; the relationship between advocacy planning and the rise of aesthetic pluralism; urban simulation as a model “bio-politics”; ideologies of historic preservation; utopian tracts, such as the Goodmans’ Communitas; and design arising from the spatio-political imagination of the counterculture.
PROPOSALS FOR PAPERS TO SESSION Due May 8, 2015
Proposals for participation be emailed directly to Anthony.Raynsford@sjsu.edu. Every proposal should include the following five items:
1. Completed session participation proposal form, located at: http://www.collegeart.org/pdf/2016-call-for-participation.pdf
2. Preliminary abstract of one to two double-spaced, typed pages.
3. Letter explaining speaker’s interest, expertise in the topic, and CAA membership status.
4. CV with home and office mailing addresses, email address, and phone and fax numbers. Include summer address and telephone number, if applicable.
The 2015 Statewide Historic Preservation Conference will be held in Columbia at the Archives & History Center on Thursday, April 23, 2015! Join us for an informative and fast-paced conference with a wide range of topics about South Carolina history, historic structures, archaeology, and
Registration and Conference Program (PDF)
Early Registration Discount Ends April 9
Despite the sometimes irreconcilable differences that culminated in the Civil War (1861-65), Newport and other Northern cities maintained close social, economic, cultural, and artistic ties with the South from the Colonial period through the Gilded Age. The 2015 Newport Symposium, North and South: Crosscurrents in American Material Culture,
invites a fresh look at regional differences in American furnishings, silver, textiles, painting, architecture, and interiors to reveal the complex exchange of ideas and enduring influences. Read the Preliminary Symposium Program
A series of open houses at the only publicly viewable and fully intact Paul Rudolph residential interior in NYC
Environmental Design Library (210 Wurster Hall)
Library information, hours, and directions:
The figures that inhabit architectural and landscape renderings are not the actual focus of the drawings. Homeowners, children, pets, shoppers, and condo-dwellers are included to convey the scale and functionality of a proposed design. They humanize and create an emotional appeal in what might otherwise appear to be sterile environments and allow the client to imagine how a space will be used. From the watercolor Victorian to the scalie hipster, this exhibit features more than a century of designers’ representations of people from the Environmental Design Archives.