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.
The John Nolen Research Fund, established through the generosity of the Nolen family, provides assistance to scholars to conduct research in the John Nolen Papers and allied collections in the Division of Rare and Manuscript Collections of the Cornell University Library. Any qualified researcher interested in the history of city and regional planning before 1950 with a project that can be augmented by using the Nolen Papers is eligible to apply. For fellowship information and application requirements, please visit http://rmc.library.cornell.edu/collections/john_nolen_research_fund.html.
Scaling Washington, photographer Colin Winterbottom's debut museum exhibition, features stunning large-scale images of the post-earthquake restoration of the Washington Monument and Washington National Cathedral. Winterbottom's images highlight the technical insights shared by the engineers and architects central to the restorations, giving visitors new perspectives on these symbolic icons.
Over twenty years ago, Winterbottom began taking dramatic, highly textured photographs of Washington, D.C.'s many architectural masterpieces. Always determined to create imagery unlike any he'd seen before, he quickly recognized the power of scaffolding to provide up-close—and high altitude—access to these historic structures.
As sole photographer for restoration efforts at the Washington Monument and National Cathedral following the August 2011 earthquake that shook the nation's capital, Winterbottom blends documentation with artistic expressions, crafting photographs that share his unusual access to remarkable, fleeting vantage points.
Composed in close proximity to generally inaccessible parts of these two landmarks, many of the photographs provide sensitive appreciation of their beauty and fragility. Surprisingly, they also transform scaffolding from an industrial workhorse to rhythmically compelling geometry that complements the historic structures they seem to engulf.
In Winterbottom's own words: "I took very seriously my obligations to bring the viewer with me to those narrow, scaffolded platforms and show them what that was like. The series is a mix of fine art, documentary and technical photographs; I hope that chorus helps viewers experience these events on several levels."
AIA Convention 2015 is one of the largest and most exciting annual gatherings of architects and design professionals in the U.S. The people, the ideas, the environment, the setting—it all comes together for an experience that will supercharge your year.
That’s the big picture. Now let’s break it down.
Get the latest on energy efficiency, learn about LEED with behind-the-scenes tours of sites that turn innovation into practice, or immerse yourself in intensive ADA training. There are nearly 300 opportunities for high-quality, interesting, of-the-moment education. We’ve segmented the schedule so you can easily follow an education track or choose an area of focus.
Get the first look at new materials and technology from nearly 800 exhibitors. Arrive early for an in-depth, hands-on preconvention workshop and pack your schedule with career-changing seminars. And get ahead, practically speaking: Register early to get the sessions you want. Book your hotel early and get the best choice at a discount. Get to seminars 15 minutes early and you’re guaranteed a seat.
Let’s start with this year’s opening keynote speaker: President Bill Clinton. He leads an event filled with visionaries, grassroots champions, change agents, and rising stars—all giving dynamic presentations, offering insightful education, and answering your questions. And you can earn education credit for all of it—including your talks with exhibitors.
You take space seriously—and so do we. We also like to have some fun with it. That’s why we’re turning the Georgia World Congress Center Expo floor into a temporary built environment with dynamic visuals, theaters, lounges, and even an award-winning structure built on the spot. Outside convention doors, we show you Atlanta, with insider tours and Design + Dining events that turn city highlights into a moveable feast. Plus, Atlanta offers plenty of downtime fun—sports palaces, exclusive shopping, velvet-rope nightlife, extraordinary architecture, and quirky picnic-table dining spots.
Students and award winners, preservationists and data engineers, experts on disaster and art-world stars—it’s a potent setting where you can shake up the status quo, start a career change, and discover new collaborators. We guarantee surprises—and a memorable and valuable experience.
Register now >
Sunday June 14, 2015 from 1:00 to 4:00pm
$50 per person / $45 for museum members
Reservations recommended to 312-326-1480
This very special tour, the annual benefit for Glessner House Museum, presents attendees with the rare opportunity to visit the interiors of several landmarked homes along Prairie Avenue. Visitors will be treated to a breath-taking array of beautifully carved wood moldings, leaded glass windows, and fireplaces in elaborate tile, mosaic, and marble.
Abbreviated tours of the Glessner and Clarke House Museums are also included on the tour as well as historic Second Presbyterian Church, with its important Arts & Crafts interior and collection of windows, including nine by Tiffany and two by Morris & Co.
Following the tour, attendees are invited to return to the coach house of Glessner House Museum for a reception and silent auction, featuring theatre tickets, Chicago memorabilia, collectibles, architectural fragments, and other items of interest.
Dwell on Design Los Angeles, curated by the editors of Dwell magazine, returns to the Los Angeles Convention Center May 29-31, 2015. With three full days of dynamic exhibitions, unparalleled educational opportunities, cutting-edge technologies, 90 onstage programs, 250+ speakers, and more than 2,000 innovative modern furnishings and products, Dwell on Design Los Angeles is America’s largest design event.
See thousands of the best modern products
- Hear from hundreds of design industry experts
- Walk through prefab homes and living landscapes
- Connect with your favorite of brands
- Engage with architects and designers in a free consultation
- Explore stunning residences with Dwell Home Tours
- Learn with a variety of Continuing Education Sessions
Join DOCOMOMO New York/Tri-State for a full-day spring tour of the Modernism in the Hudson Valley . A tour of the Vassar College campus, led by architectural historian and Vassar professor Nicholas Adams, will include landmark works by Marcel Breuer and Eero Saarinen, among other examples of 20th-Century Modernism. That will be followed by a visit to architect John Johansen's one-of-a-kind Tent House, designed for his own use and carefully preserved by current residents. Johansen's son Christen will join us to share anecdotes about life in the house. Tour includes private transportation from Midtown Manhattan and lunch at a noted farm-to-table restaurant.
$140; $120 DOCOMOMO members
When an employee at Google’s Mexico City office takes a post-lunch plunge into the on-site ball pit, is she working or playing? And when an employee in one of Foxconn’s factory sites in China leaps from his eighth-floor dormitory, only to be cradled in recently installed “suicide” netting, is he fulfilling or transgressing the design of the workspace? Long hidden in museum basements, conservation labs and storage rooms now feature prominently in museum designs. Facing complicated visa programs and unsavory jobs, employers skirt bureaucracy to sustain the agricultural industry in the US and illegal workers stay undocumented in order to be easily employable. When and why are certain workspaces - and workers - hidden or revealed? What is the “work” that is supposed to happen in the workspace and how have transformations of the tools, economies, demographics, and technologies within the workspace shaped the notion of work? thresholds 44: workspace seeks to mine how the meanings of and locations for work have been historically and culturally defined, how work transposes earlier notions of labor and craft production, and how the work of artists, writers, architects, designers, and urban planners – alongside managers, psychologists, political leaders, and employees themselves – have been integral in construing the physical and mental conditions of work, rest, and play.
Therefore, a central theme of this edition of thresholds will be the nexus between sociality and productivity in relation to changing technologies and instruments of work. Impresarios such as Henry T. Ford and Andy Warhol and corporations ranging from Yahoo to SOM have redefined workspaces, production techniques, and social relationships as they pursue “the bottom line.” Even farmers that have welcomed technologies developed for agribusiness onto their family-owned farms have reported both an increase in crop yield and a much-needed boost in leisure time. Resonating with the ideas of sociologist Emile Durkheim, who defined “the social worker” over a century ago as the person who feels solidarity within a team, thresholds asks why and for whom does the dream of a social workspace remain important? In an age of robust telecommuting technology, for example, must workspace persist as physical space?
The journal also seeks submissions that parse issues of class and gender within workspaces. For Marx, a realm of freedom existed outside the sphere of material production. But, when and where is the workspace not? From America to Iran, home economics courses for women in the 1950s sought to transform the home into a workspace and the female into an efficient worker. The corridors of a large university exist as transit space for students between classes during the day, but become workspace for custodians at night. Is sweat equity too often masked by financial equity?
Submissions are not limited to the above themes. We welcome contributions that engage the idea of workspace at a variety of scales and across historical moments and political geographies. We appreciate proposals that incorporate diverse theoretical approaches and unorthodox subject matter.
Essay submissions should be in English, approx. 3,000 words, and formatted in accordance with the Chicago Manual of Style. Submissions should include a brief cover letter, contact information and bio of under 50 words for each author. Text should be submitted in MS Word. All material should be submitted to email@example.com. More info can be found at thresholdsjournal.com.
Christianna Bonin & Nisa Ari, Editors
An interdisciplinary symposium to rethink aspects of the Neapolitan collection at Compton Verney, Warwickshire.
CALL FOR NOMINATIONS
2015 Best of the South Award
Southeast Chapter of the Society of Architectural Historians (SESAH)
The Southeast Chapter of the Society of Architectural Historians seeks nominations for the Best of the South: Preserving Southern Architecture Award. This annual award honors a project that preserves or restores an historic building, or complex of buildings, in an outstanding manner and that demonstrates excellence in research, technique, and documentation. Projects in the twelve-state (Alabama, Arkansas, Florida, Georgia, Kentucky, Louisiana, Mississippi, North Carolina, South Carolina, Tennessee, Texas and Virginia) region of SESAH that were completed in 2013 or 2014 are eligible.
Nominations should consist of no more than two typed pages of description and be accompanied by hard copy illustrations and any other supporting material. A cover letter should identify the owner of the project, the use of the building(s), and the names of all the major participants of the project.
Send three (3) copies to
Paige Wagoner Claassen
2608 Chesterfield Avenue
Charlotte, NC 28205
Deadline: July 1, 2015
For more information about the award and SESAH, visit http://www.sesah.org
Italian-born, Los Angeles-based architect Elena Manferdini has become adept at creating vibrant architectural installations that employ complex patterns, luscious colors, and rich textures to introduce new spatial and visual narratives to challenge the clean lines and abstract forms of architectural modernism. For this new work for the Art Institute, Manferdini drew inspiration from the iconic orthogonal geometries of the design of Mies van der Rohe, including his 860–880 Lake Shore Drive apartments in Chicago. By digitally manipulating images of this internationally recognized building, whose structure is an ode to Chicago’s strict urban grid, Manferdini has created an immersive environment that builds off this design. Although the image is rendered in two dimensions, the play of light, color, depth, and perspective invites the user to experience the work up close as well as from a distance.
This exhibition is part of a series in which the Department of Architecture and Design enlists contemporary architects and designers to organize installations that investigate critical issues within their practices. Using history as a starting point, Manferdini developed new visual and spatial narratives that challenge perceptions of architectural environments through the use of decoration and ornamentation. She began with Mies’s simple gridded facade treatments. After tracing an image of his facades to create digital drawings of the grid, she developed multiple versions of unique patterns by multiplying the grid, weaving the lines, and infusing a range of colors and line weights. This installation at the Art Institute is comprised of a series of small-scale, intimate studies printed on both vinyl and metal; a large-scale landscape—composed of these smaller studies—that covers half of the gallery; a video that animates these studies; and in the center of the gallery, three-dimensional forms that show how these patterns can take shape from their two-dimensional origin. In each of these manifestations, Manferdini’s manipulation of the grid blurs lines between fashion and pattern in an architectural context and introduces a new contemporary landscape that has strong ties to the past.
Elena Manferdini: Building the Picture is part one of a two-part series of special commissions generously supported by the Graham Foundation for Advanced Studies in the Fine Arts.
THE ARCHITECTURE OF SCOTLAND IN ITS EUROPEAN SETTING
22-25 April 2015, University of Edinburgh
This conference will review the architecture of Scotland’s early classical period, 1660-1750, set against the backdrop of European sister cultures. It will re-examine the work of major Scottish architects including Sir William Bruce, Mr James Smith, the Mylne family, William Adam and their contemporaries: clients, garden designers and craftsmen. Topics explored will include country houses and their landscaped settings, urban civic and domestic buildings, and the building trade. The nature and value of Scotland’s international connections, particularly with England and mainland Europe, provide the main contexts for this period during which Scottish architects fully embraced classicism for the first time and became strongly influential in shaping taste elsewhere.
Booking information is available at https://sites.eca.ed.ac.uk/architecture-of-scotland
Youth Architecture Workshops give students entering 7th through 12th grade an opportunity to practice design, drawing, and model-building in the inspiring drafting room of Frank Lloyd Wright's Oak Park studio. In each of three innovative workshops, students create their own designs for a "client," build a 3-dimensional model, and participate in an architectural critique.
In Level I, students explore the influence of geometry on Wright’s architecture, learn to use drafting tools, interpret architectural plans and draw to scale, study Wright’s Usonian style, and create their own design for a “client.” They tour Wright’s Home and Studio with a special emphasis on his innovative use of space. Parents and friends are welcome to attend the culminating architectural critique where participants present their projects. A professional architect provides instruction and guidance.
Maximum capacity for each session is 12 students.
To reserve a seat, call 708.725.3828 or email firstname.lastname@example.org.
Join us for the 41st annual Wright Plus, an internationally renowned architectural housewalk featuring rare interior tours of private homes designed by Frank Lloyd Wright and his contemporaries, plus entry to landmark Wright buildings. Celebrate architecture, design, Frank Lloyd Wright’s innovative vision and the talents of his fellow architects in historic Oak Park and Riverside, Illinois. Experience extraordinary living spaces and share an enjoyable day with visitors from around the world.
Want even more Wright? The Wright Plus Friday and Sunday Excursions are daylong trips to Wright-designed sites beyond Chicago. Luxury coach will transport guests to the B. Harley Bradley House in Kankakee, Illinois and the S.C. Johnson Administration Building and Research Tower in Racine, Wisconsin. Both tours are offered Friday, May 15 and Sunday, May 17.
The Ultimate Plus Package offers an extended weekend of one-of-a-kind architectural experiences and includes accommodation.
“Home Base” will be open to the public from March 4 to May 1. Exhibits are free and open noon to 5 p.m. Monday through Friday, and until 7 p.m. on Wednesdays. Gould Pavilion is located at 3950 University Way, Seattle, WA 98195.
Exhibition opening and conversation with Jim Olson
Olson, the founding principal of Olson Kundig Architects, will speak about his career and cabin on Wednesday, March 4, at 6 p.m. in Gould Pavilion. Joining Olson for the Q&A portion of the presentation will be Alan Maskin, a principal with Olson Kundig.
Gallery Hours: Mon – Fri 12pm-5pm (until 7pm on Wed)
Exhibition is free and open to the public
J.M. Richards, architectural journalist and one time editor of the Architectural Review, wrote in 1937 that he wished the personalities of architects would become ‘culturally irrelevant’. He thought of architecture as a collective, ongoing pursuit – between various professions and the general public - rather than as a collection of finished buildings and named architects. Richards’ preoccupations with process rather than result, the existing rather than the imagined, the anonymous rather than the famous and the ordinary rather than the extra-ordinary, form the starting point of this symposium.
In recent years the boundaries of Architectural and Design History have expanded to include the stories of lesser-known designers, the role of patrons, critics and historians, media, photography and drawing in design practice. Professional networks and personal relationships are also increasingly subjects of scholarship, together with the broader social and cultural contexts of architecture and design. This symposium aims to draw attention to the behind the scenes of architectural and design cultures, and seeks proposals that build on these expanding boundaries of the subject by considering the everyday places and procedures and the ordinary people that make architecture and design.
Proposals might therefore include explorations of:
• The overlaps between professional and personal, for instance the editorial meeting and the evening in the pub, the studio and the sitting room, colleagues and lovers.
• The everyday places of architectural and design culture including the office, the conference room, the bar; also the ordinary objects that furnish them. The ephemera of design culture – minute books, invitations, posters, leaflets, correspondence.
• The hidden processes such as meetings, minute taking, letters, telephone conversations, chats, dinners.
• The ordinary people are those not usually included in historical discourses – the intermediaries, the mediators, the anonymous editor, the secretaries, the organizers, observers and recorders. This could involve exploring the practices of biography in architectural history, asking whose stories are told and why.
The symposium will question conventional narratives of ‘greatness’, ‘genius’ and ‘the extra-ordinary’, by focusing on the commonplace and ordinary – the things behind the big names, well known faces and places of architectural and design history and practice. We welcome papers from a range of disciplines in design and architecture, including history and practice.
The Paris Institute for Advanced Studies welcomes applications from high level international scholars and scientists in the fields of the humanities, the social sciences and related fields for periods of five or nine months, during the academic year 2016-2017.
The Paris IAS will host around twenty guest researchers, allowing them to work freely on the project of their choice. The researchers will benefit from the scientific environment of the Institute and have the opportunity to create contacts with researchers in the academic institutions of Greater Paris.
Deadline for applications: April 30, 2015, 3:00pm (Paris time)
Applicants may request residencies for the following periods:
- 1 September 2016 to 31 January 2017 (5 months)
or - 1 October 2016 to 30 June 2017 (9 months)
or - 1 February to 30 June 2017 (5 months)
The application, in English or French, must be submitted via an online application system (see our website http://paris-iea.fr/en/how-apply for a detailed description of the procedure). Paper or e-mail applications are not accepted.
The application consists of the following items:
• the completed application form;
• a curriculum vitae (10 pages maximum) including a list of publications and a list of the 5 publications considered as most important by the applicant;
• a detailed research proposal (25 000 characters maximum spaces included. The proposal should include :
o state of the art in the field, innovative character of the proposal
o methodology or theoretical framework
o expected outcomes
o work planning, timescales
o existing or planned scientific cooperation and contacts in France
o bibliography (books and articles cited)
• a letter of cooperation signed by a member of a university or research institution based in France. Preference will be given to projects conducted in cooperation with the partners of the IAS (Universities of Paris 1, 3, 4, 5, 6, 7 and 10, EHESS, EPHE, ENS Cachan, ENS, Paris, FMSH)
• a list of four topics on which the applicant could give a lecture during the fellowship
• in the case of Junior Fellows (2 to 9 years after the PhD), two letters of recommendation
• the name of three experts with whom the applicant has not collaborated in the past who could review the application
Application deadline: Thursday, April 30 2015, 3:00 pm (Paris time)
Preselection: May 2015
Final selection: November 2015
Publication of results: December 2015
Starting dates of the fellowships: September 1st 2016; October 1st 2016; February 1st 2017.
To access to the online application system: http://paris-iea.fr/en/user/register
For additional information:
About Paris IAS: http://www.paris-iea.fr/en
Contact address: email@example.com
An introduction to architectural photography on mobile devices such as the iPhone and Android.
When: 6:00 PM FRIDAY, APRIL 10 - 3:30 PM SATURDAY, APRIL 11
Where: Center for Architecture
536 LaGuardia Place
New York, NY
Friday, April 10, 6:00 PM - 8:00 PM
Saturday, April 11, 10:00 AM - 3:30 PM
Mobile devices have revolutionized the way we see and interact with the world. While architectural photography has traditionally been perceived as a highly technical practice requiring specialized knowledge and equipment, this is increasingly no longer the case. Anyone who carries a smart phone has the ability to produce stunning architectural images. The key to this, however, is both technique and vision.
This two part weekend seminar provides an introduction to architectural photography on mobile devices such as the iPhone and Android. Technique and vision will be developed through lessons at the Center, a guided hands-on photo-walk, and final critique.
Friday’s lecture will discuss the essentials of mobile photography, including many insider tips for addressing the specific problems and challenges that come up when shooting architecture.
Saturday morning you will go on a photo walk with the instructor to apply what you have learned with hands on assistance. In the afternoon, you will return to the Center for tutorials on post-processing techniques and a final image critique.
This class is open to the general public - no previous photographic experience necessary. Students should supply their own phone with camera.
In recent years, the material turn has led to stimulating new questions, new research areas and new research perspectives in numerous humanities and social science disciplines. The often quoted “thinking through things” is essential, especially in the area of the history of collections and museums. Nevertheless, it is astounding that numerous research themes have hardly been worked on despite the immanent connection of objects to the discipline of art history, for example, in comparison to archaeology and cultural anthropology – although such research themes form a major area of the pre-modern self-conception of the artist. Speaking of those objects of material culture representing the civic associations in crafts and business the conference seeks to make visible the system of guilds and brotherhoods in a townscape. All those objects making up this area of study play the major role here. At this conference, the term material culture of the guild and crafts system is to be understood in its broadest possible dimensions, from multi-panel altar to the simple guild cabinet storing the candles for the civic processions. Of interest are the form, effect and function of these objects in their sacred and profane surroundings.
The most important players are primarily the civic guilds. In like manner, the guild-like brotherhoods play a role, associations which looked after the social and religious matters of their guilds. In addition, the official representatives of the town could have an influence on the design of their town hall or townscape to bring the social structure of their confraternity into focus. When did it come to competing projects among the different crafts groups? To what extent was individual space guaranteed for persons to found donations? The visual artist or even the architect played a major role in the public portrayal of the guilds, but also of individual persons, and generally in the design of public space. He was the one who designed and carried out the paintings, flags, glass windows, manuscripts etc. according to the guidelines of the patrons. The artist’s craftsmanship lent glory to the guilds; his visual offerings translated the group’s will to self-portrayal into concrete visual messages. Who was responsible for the decoration of the guild rooms? Which artists were called on for these commissions, and how did they deal with each task?
The spaces where the group activities were played out could be of different kinds. The civic space formed the stage, so to speak, where the crafts associations acted on stage and where their realia were put on display. It could have been a centrally located square, the town hall, the church with various guild chapels or even the individual guild house. Along with these locatable spaces, the most diversified temporary spaces formed a major area as well: whether communal festive parades, church processions, festive ruler entrances or funeral ceremonies, the groups had to be visible as representatives of their rank. Realia such as guild candles, crafts-specific coats of arms and standards with guild motifs played an important role. The succession in which the respective group participated in a procession could also signify the status of the guild in the civic context. These were transitory processes which could be preserved in written or visual form. The guild chapels served as publically accessible areas where the confraternity could create its public image according to its own ideas.
In addition to the different players and spaces, the conference is to work out the extent to which the specific object was put to use in the pre-modern era to display splendour, to secure power but also to transfer knowledge and the extent to which the object, often robbed completely of its context, can serve today to understand the guild and crafts system. This interdisciplinary conference wishes to integrate the visual and tactile dimensions of the object as well as the questions on this topic dealing with the history of science and technology.
The conference is organised by the ERC Project artifex (www.kuenstlersozialgeschichte-trier.de/tak-sharc/artifex/) and takes place from 24-28 February 2016. We were able to secure the Central Institute for Art History in Munich as the ideal conference location. It is, after all, the seat of “Forschungsstelle Realienkunde”, which is devoted expressly to material culture in its manifold dimensions.
Conference conditions: The organiser will pay for transport and accommodations for the speakers. More detailed information will be announced following the selection of the speakers and the arrangement of the programme.
Participation requirements: A publication of the conference proceedings is planned for shortly after the conference ends. For this reason, the selected speakers are expected to have a text with footnotes, bibliography and images already prepared for publication at the time of the conference. Following the conference only a few alterations can be made to the text before the manuscript goes into print at Imhof Verlag Petersberg in the summer of 2016. Revised texts with printable images must therefore be available for the organisers at the latest on 31 March.
The talks should be 30 minutes long. We request that abstracts, no longer than one page, plus a brief CV with the most important publications be submitted to:
Prof. Dr. Dr. Andreas Tacke / Prof. Dr. Dagmar Eichberger / Dr. Birgit Ulrike Münch
9 October 2015, Budapest, Hungary
The first doctoral conference organised by the Department of Urban Planning and Design, Faculty of Architecture, Budapest University of Technology and Economics (BME).
Throughout Europe, current urban challenges are posed by large-scale ensembles of modernity as a result of post-war development on both sides of the Iron Curtain. The urb/doconf 2015 is the first in a series of a doctoral conference, to be organised on a yearly basis, which will provide a comparative overview of current doctoral research into the physical (built and natural) environment within Central-Eastern Europe (CEE).
Those invited include doctoral researchers, PhD candidates and post-doctoral researchers (maximum five years after obtaining the doctorate degree) specializing in architecture, urban design, urban planning or landscape architecture. The BME Department of Urban Planning and Design wishes to promote cooperation among CEE doctoral institutions, building up a network for future generations of scholars through their specific fields of research.