Recent Opportunities

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  • APT Buffalo Niagara 2018

    Buffalo | Dates: 22 – 27 Sep, 2018
    We look forward to welcoming you to a conference like no other in APT’s history. Events and sessions in the United States AND Canada.  Richardson, Sullivan, Wright, Olmsted & Vaux.  Bunshaft, Yamasaki, Pei. Grain Elevators that inspired Le Corbusier. Forts on both sides of the border. World class parks, waterfront, vineyards. And of course, Niagara Falls.

    And now a renaissance fueled by the adaptive reuse of historic buildings.  Three workshops – terra cotta, windows and non-destructive evaluation.  Over 20 field sessions. “The Next Fifty” Symposium. And Canada Day – a day of celebrating our heritage and our future, together.

    Buffalo was the 6th largest port in the world in 1906.  By 1951, it was the 11th largest industrial center in the country, the largest inland water port, the 2nd largest railroad center, and the 15th largest city in the country.  It was literally and physically one of the most important points of departure on the continent. 

    A group of preservation and conservation professionals from both the United States and Canada came together in New Richmond, Quebec in 1968 to form a new organization called The Association for Preservation Technology International (APT).   As we celebrate our 50th anniversary, we see this conference as a point of departure for our next 50 years.  We are a joint American-Canadian organization, with chapters around the world.  One of our founders was from Niagara-on-the-Lake, across the river from Buffalo, making Buffalo Niagara the perfect place to celebrate our cross-border heritage. 
  • CFP, Contemporaneity Edition 8: “Yesterday’s Contemporaneity: Finding Temporality In The Past”

    Dates: 15 – 15 Oct, 2018
    Contemporaneity: Historical Presence in Visual Culture
    CFP, Edition 8: “Yesterday’s Contemporaneity: Finding  Temporality In The Past” 
     
    In recent decades art historians across the discipline have offered new insights into how communities in the global past understood their own positions in time. For example, Marvin Trachtenberg has made the case that twelfth- and thirteenth-century European architecture articulated a form of medieval modernism. Conversely Paul Binski has argued for how the same material could be understood as not only innovative, but also firmly historicist in nature. Studies of eschatology in artworks ranging from Renaissance wall paintings in Italy to Pure Land Buddhist Mandalas in Japan have highlighted how people in the past used theology to conceptualize their own place in time in the face of an uncertain but infinite future beyond their death. Meanwhile, studies of the visual cultures that emerged under different eras of imperialism and colonialism have illuminated how local and foreign definitions of time, history, and contemporaneity could directly shape the identities of both conquered and conquering peoples.  
     
    Contemporaneity asks what it means to be contemporary. The term is often invoked in reference to the current lives of citizens of today’s world, but this edition seeks to highlight contemporaneity across a wider variety of historical contexts. The aim is to uncover how cultures throughout the global past have negotiated temporalities, modernities, and historicisms, to come to terms with what it means to be present in their own moment. How can both history and modernity be visualized, contextualized, or conceptualized to create a sense of contemporaneity? How have institutions created temporalities for the cultures they study, and how can a historical object or space shape a person’s perception of an entire culture’s identity or agency? What is at stake in defining a work of art’s place in time? 
     
    Submissions on all topics will be considered. Potential topics may include, but are not limited to: 
     
    -modernism, medievalism, and historicism 
    -modernity and history in a global context 
    -anachronisms, futurisms, and revisionist histories  
    -Orientalism and other uses of the temporal in cross-cultural exchange 
    -spoliation, re-use, and/or appropriation 
    -museums, the ethics of collecting and “Grand narratives” 
    -traditional or historical art and crafts and the preservation of style 
    -contemporary interventions on historical objects or sites  
    -creation myths, apocalypses, beginnings and end times 
     
     
    The deadline for submissions is October 15, 2018. Manuscripts (circa 6,000 words) should include an abstract, 3-5 keywords, and adhere to the Chicago Manual of Style. To make a submission, visit contemporaneity.pitt.edu, click Register and create an author profile to get started. Proposals for book and exhibition reviews, interviews, or other scholarly contributions will also be considered, and we recognize that these submissions may take many forms.

    Proposals and questions can be directed to the editors at contemporaneityjournal@gmail.com

    Contemporaneity is a peer-reviewed online journal organized by the History of Art and Architecture Department at the University of Pittsburgh. Visit contemporaneity.pitt.edu and constellations.pitt.edu for more information.

  • CFP: ABE Journal - On Margins: Feminist Architectural Histories of Migration

    Dates: 29 Mar – 01 Jul, 2018

    Dossier directed by Rachel Lee, LMU Munich (Germany), and Anooradha Iyer Siddiqi, Harvard University, Cambridge, MA (United States).

    This project works in concert with a growing body of initiatives to write feminist histories of modern architecture through collaborative and intersectional historiographic practices: which redistribute power, co-produce solidarity, and reassess the objects and methods of architectural history. We begin by posing two arguments to architectural historians: first, that the dynamic of a situated and re-situated perspective is foundational to feminist histories of architecture, and second, that feminist historiographical approaches destabilize presumptions of fixity at the heart of the discipline. With the goal of opening the historiography to narratives, perspectives, and practices based on these arguments, we seek histories that employ feminist methods or gather empirical studies of women’s work that emerged from acts and experiences of migration performed individually or collectively—into and out of geographies of control and subjugation, beyond gender or gender framings, across lifeworlds.

    In narratives of migrants who were identified with architectural modernism in the most formal sense, and crossed borders in the colonial and postcolonial worlds, we have found repeated instances of a focus on the vernacular, the folkloric, the everyday and the anonymous. A transnational, cosmopolitan mobility oriented figures such as Sybil Moholy-Nagy, Minnette De Silva, Lina Bo Bardi, and Denise Scott-Brown toward proving grounds outside established sociocultural, geographical, and professional territory, in which they generated disciplinary debates on heritage, regionalism, and the banal. In abbreviated form, their migrations turned a lens on culture as architecture. Their practices posited architecture not as exceptional, but as entangled with many other forms of cultural production. We argue that Moholy-Nagy’s grain silo, De Silva’s artisan, Bo Bardi’s Bahia, and Scott-Brown’s Las Vegas each stemmed from the view of a stranger.

    In narratives of migrants whose designs, built forms, and constructed environments have not been understood as authored, or of anonymous objects illegible within the frameworks of modern architectural history, we have found instances of empowering links between mobility and architectural forms and practices. The authority embodied by certain migratory works—camps built by refugees, exhibitions curated by exiled artists, urban spaces seized by protestors, radical journals circulated ephemerally—poses a challenge to the discipline’s purported stabilities. We believe this form of challenge is meaningful for architectural history. Writing feminist architectural histories of migration demands seeing the bodies of laborers within the grid of authorship, acknowledging the spatial practices of occupation by activists or prisoners, engaging the obscured work of teachers, researchers, and writers, studying material environments built by migrants, and naming homemakers and others whose designated use of architecture endowed it. Such iterations, which may have lacked signature but not significance, created or unsettled architectural discursivity and enacted forms of power: as predicated upon migration and mobility, or their mirrors, restriction and confinement.

    In expounding such histories, we also aim to theorize the spaces within and around which these migrations and mobilities occurred. We posit these spaces as margins. We see margins not in the sense of Derrida’s paradoxical ‘supplement,’ as aiding an original or replacing a lack, but instead as figured zones and often concrete places under continuous negotiation with territories adjacent. A margin may be understood through a variety of spatial and material cognates: periphery, border, fringe, exterior, interior, buffer, surplus, edge... Whether of land or fabric, whether architectural, structural, cultural, (geo)political, environmental or economic, whether obvious or difficult to observe, margins come into view through migration. Thinking with bell hooks, we regard margins as sites of potential and resistance. Their distinct ontologies and emergent epistemologies offer traces of historically meaningful events and architectures, and figure new views of the mundane as well as the exceptional.

    In recent literature, we have seen a feminist defamiliarization of architectural histories through readings of a range of theorists. We invite authors to interpret these and intervene with others in thinking on margins and feminist architectural histories of migration. How does Silvia Federici’s work on witchcraft or Simone de Beauvoir’s on cities inform urban history or illuminate issues of spatial restriction? How does nomadism in the writings of Gilles Deleuze or Rosi Braidotti trouble or enable architectural histories of women crossing borders by force or need? How are the subject-solidarities proposed by Judith Butler or Donna Haraway architecturally figured by or within margins? We invite authors to consider these and their own parallel questions through submissions that embed empirically grounded and culturally specific narratives in theoretical considerations of margins. Such a synthesis of migration and margins, we hope, will proffer a set of feminist architectural histories of migration to expand a global architectural historiography, opening it to new theorizations and situated historical perspectives.

    Submission deadline: 1st July 2018.

    Please send your submissions to abe[at]inha.fr.

  • Charles S. Keefe (1876-1946): Colonial Revival Architect in Kingston and New York

    Kingston | Dates: 05 May – 27 Oct, 2018

    An exhibition at the Friends of Historic Kingston of drawings, prints, and photographs documenting the career of Charles Keefe, who developed a national reputation as a designer of Colonial Revival houses while practicing in New York before the Depression forced him to retreat to an office in his Kingston home. The exhibition coincides with Black Dome Press's publication of a book of the same title by longtime Colonial Revival scholar William B. Rhoads. In his Foreword, Richard Guy Wilson observes that "Charles Keefe . . . all but vanished from architectural history. But now . . . Keefe reemerges as a major figure . . . . As this study of Keefe shows, even small-town architects can make an impact."
  • Weekly Architectural Trolley Tours, Sarasota, Florida

    Sarasota | Dates: 29 Mar – 27 Dec, 2018

    Every Thursday during October to May, the Center for Architecture Sarasota is holding weekly architectural trolley tours. With local experts Harold Bubil and Lorrie Muldowney, these alternating tours (Sarasota Architectural Gems, North Side; and Historic Neighborhoods of Sarasota) allow you to visually explore unique buildings and historic neighborhoods throughout Sarasota on delightfully entertaining and informative tours.

    Thursdays (to May 3; resumes October 4)

    10:00AM to 12:00PM

    Center for Architecture, Sarasota
    265 S. Orange Avenue
    Sarasota, FL 34236

    $35/members; $45/non-members.

    Buy your tickets in advance at cfasrq.org!
  • Archives of American Art Grad Student Research Essay Prize

    Dates: 20 Mar – 01 Aug, 2018

    Deadline: Aug 1, 2018

    The Archives of American Art’s Graduate Research Essay Prize recognizes original research by a graduate student that engages in a substantial, meaningful way with the Smithsonian’s Archives of American Art. The prize winner will receive a $1,000 cash award, a one-year subscription to the Archives of American Art Journal, and his or her essay forwarded to the editor of the Archives of American Art Journal for peer review and possible publication.

    With more than 20 million items in its continually growing collections, the Archives is the world’s largest resource dedicated to collecting and preserving the papers and records of the visual arts in the United States. Students may consult original documents by appointment at the Archives’ headquarters in Washington, DC, view more than 2.5 million digital files and interviews online through the Archives’ website, or use the substantial microfilm holdings available through interlibrary loan or an Archives-affiliated research center.

    Students currently enrolled in a graduate program in art history, American studies, or a related field are eligible to participate in the competition.

    Submissions for the 2018 prize must be sent to AAAprize@si.edu by August 1, 2018.

  • Elegance in the Sky: The Architecture of Rosario Candela

    New York | Dates: 17 May – 28 Oct, 2018
    With some 75 buildings to his credit, Rosario Candela played a major role in shaping the architectural legacy of 20th-century New York—the distinctive “prewar” streetscapes of Park and Fifth Avenues and Sutton Place in particular. Elegance in the Sky: The Architecture of Rosario Candela revisits the setback terraces and neo-Georgian and Art Deco ornament of Candela-designed high-rise apartments. His buildings established new standards of chic urban living for some of New York’s wealthiest citizens and still rank among the most prized in the city, almost a century after they were built.
  • CFP: International Journal of Islamic Architecture 9.2 special issue themed "Field as Archive / Archive as Field"

    Dates: 21 Mar – 30 Jul, 2018

    CALL FOR PAPERS

    International Journal of Islamic Architecture (IJIA)

    Special Issue: Field as Archive / Archive as Field

    Thematic volume planned for July 2020

    Proposal submission deadline: 30 July 2018

     

    This special issue of the IJIA focuses on the experience of carrying out archival work or fieldwork in architectural research, including research-led practice. How might this experience, with all its contingencies and errancies, be made into the very stuff of the architectural histories, theories, criticisms and/or practices resulting from it? This question is rendered all the timelier due to recent and ongoing developments across the globe, not least in the geographies relevant to the IJIA’s remit. The fallout from the so-called ‘Arab Spring’ has escalated social, political, and economic crises and, in certain cases like Libya and Syria, has taken an overtly violent turn. Major countries with a predominantly Muslim population, such as Turkey, Egypt and Indonesia, have witnessed restrictions on civil liberties. Moreover, the word ‘Islam’ has become embroiled in various restrictive measures introduced in countries whose successive administrations have otherwise laid claim to being bastions of democracy and freedom, such as emergency rule in France and travel bans in the US. Others with significant Muslim populations, such as India and Russia, have seen nationalist and/or populist surges, often with significant implications for their minorities. Such developments have engendered numerous issues of a markedly architectural and urban character, including migration, refuge, and warfare, protest and surveillance, as well as heightening the risk of contingencies and errancies affecting archival work and fieldwork. Whereas this risk and its materializations are typically considered unfortunate predicaments and written out of research outputs, how might a focus on architecture at this juncture help write them back into history, theory, criticism, and practice? What might this mean for the ways in which architectural research is conceived and carried out under seemingly ‘ordinary’ circumstances—those that appear free from the risk of contingencies and errancies affecting archival work and field work?

     

    As evident in the joint emphasis on fieldwork and archival work, these questions are methodologically animated by a convergence between two prominent venues of architectural research conventionally seen mutually discrete if not antipodal: field and archive. In fact, when considered spatially, both fields and archives have more in common than that which separates them. Access to both is monitored by gatekeepers: fieldwork in the anthropological sense demands a significant degree of rapport with individuals controlling entry into the field, while archival research requires negotiating access with archivists and involves official letters, application forms, ID cards, stamps, and signatures. Findings of archival work and fieldwork are then disseminated through academic knowledge production; this is yet another realm characterized by gatekeeping mechanisms, in which case researchers themselves are implicated as gatekeepers. One way of thinking archives and fields together architecturally, then, is to ask exactly what might be at stake in the relationship between the mechanisms of gatekeeping involved in fieldwork, archival work, and knowledge production?

     

    Conventional approaches may limit this question to practicalities; they may categorically celebrate the permission to enter the archive or the field, and lament being denied entry. Doing so perpetuates received wisdom regarding the epistemic authority of officially sanctioned institutions, methods and communicative modes being greater than that of others. Contrarily, contributions to this special issue are invited to adopt a critical and self-reflexive approach by treating the denial of access as empirical material to think with, or the granting of access as a selective and politically charged phenomenon. This is to directly probe how power structures shape what is accessible and inaccessible, placing them at the heart of what it means to engage in archival work and fieldwork. It is to ask, for instance in cases where access is denied: in what ways was denial communicated; what reasons were given; how might these be considered as part of the content of the research itself? Or, in cases of seemingly trouble-free access: what documents or information were required to gain access; who gave the final decision; what conversations were had; what, if any, were the limitations and restrictions; in what ways might the answer to these questions speak to the research itself? Such questions may also apply to the notion of participation, which is central especially to fieldwork. Participation is conventionally understood as an instrument that enhances the extent to which research outcomes represent the needs, thoughts and feelings of interlocutors or beneficiaries. Instead, this issue invites contributors to approach participation as a political mechanism through which power-knowledge structures are regulated (rather than alleviated or invalidated) by various actors involved in or impacted by the research, including researchers themselves. On a broader level, thinking archives and fields together in such a way has implications for how time and temporality are considered in architectural research. The prevalent tendency in this respect is to associate archives with history and fields with that which is recent or contemporary. Contributors are encouraged to reconsider this tendency by showing how archives might speak of the present and how fields might offer novel understandings of the past. Finally, to scrutinize issues affecting fieldwork and archival work critically and self-reflexively—that is, beyond such categorical oppositions as permission versus rejection or compliance versus refusal—is to avoid limiting the imperative for such scrutiny only to geographical and/or historical contexts deemed ‘turbulent’. It means to posit the obligation to account for power structures as the very condition of rather than the exception to archival work and fieldwork.

     

    Paper proposals should work from the framework outlined thus far to offer insights relevant to the IJIA’s remit, which is defined broadly as ‘the historic Islamic world, encompassing the Middle East and parts of Africa and Asia, but also the more recent geographies of Islam in its global dimensions’. Contributors should fully exploit the self-reflexive potential of this framework by addressing the role of architecture and architectural research as not just the product of the various issues affecting archival work and fieldwork but also their instigator. Specific questions that contributors might wish to explore include but are not limited to the following:

     

    1. What are the potentials and limitations of a research focus on architecture when negotiating contingencies and errancies affecting archival work and/or fieldwork?

     

    2. How might architectural research help unpack the ethics and politics of access to fields and/or archives beyond the question of physical entry or the lack thereof?

     

    3. How might an architecturally focused approach to archives as fields (and vice versa) help complicate linear approaches to history and historiography? How might it help complicate the sweeping identification of certain historical and/or geographical contexts with conflict, unrest, crisis, and oppression as diametrically opposed to post-conflict, peace, prosperity and freedom, and offer a nuanced appraisal of the agency of researchers and interlocutors operating in such contexts?

     

    4. What are the ways in which the positionality and reliability of architectural researchers, gatekeepers, interlocutors, or participants shift during archival work and fieldwork? How might these shifts be exploited, rather than glossed over, during the research towards attuning to non-institutional methods of knowledge production? How might they be integrated into, rather than written out of, the histories, theories, criticisms and/or practices resulting from the research?

     

    5. How might a convergence between the concepts of field and archive help architectural researchers negotiate the dynamics between intellectual autonomy and responsibility towards others involved in or impacted by the research?

     

    6. What might be the role of language and that of other communicative modes in engendering or negotiating contingencies and errancies affecting fieldwork and archival work? What new forms, structures, and styles—be they textual or material—might result from a close and nuanced attention to this role?




    Articles offering historical and theoretical analysis (DiT papers) should be between 6000 and 8000 words, and those on design and practice (DiP papers) between 3000 and 4000 words. Practitioners are welcome to contribute insofar as they address the critical framework of the journal. Urbanists, art historians, anthropologists, geographers, sociologists, and historians, whose work resonates with architecture are also welcome. Please send a title and a 400-word abstract to the guest editor, Eray Çaylı, London School of Economics and Political Science (e.cayli@lse.ac.uk), by 30 July 2018. Authors of accepted proposals will be contacted soon thereafter and will be requested to submit full papers by 28 February 2019. All papers will be subject to blind peer review. For author instructions, please consult: www.intellectbooks.com/ijia
  • LAB CULT: An unorthodox history of interchanges between science and architecture

    Montreal | Dates: 23 Mar – 02 Sep, 2018

    The Canadian Centre for Architecture (CCA) presents Lab Cult: An unorthodox history of interchanges between science and architecture. On view in the CCA’s Octagonal Gallery, the exhibition is curated by Evangelos Kotsioris, CCA Emerging Curator 2016–2017 and investigates the concept of the laboratory as a pervasive and recurring metaphor for experimentation in both science and architecture. As a place for the conduct of rigorous research, the lab has been an incredibly productive concept for both of these fields. But at the same time, this exhibition provocatively argues, the laboratory has developed into a cult – its seeming credibility has been repeatedly mobilized in order to normalize social behaviors, discipline the performance of bodies, regulate our environments, standardize the ways we live.

    Kotsioris conducted his research during a three month residency at the CCA and developed the curatorial approach of the exhibition by juxtaposing archival material from the CCA collection with models, scientific instruments, photographs and films on loan from more than twelve international archives, museums, collections and scientific institutions. The majority of these interrelated objects will find themselves sharing the same space for the first time at the CCA.

    The CCA Emerging Curator program offers the opportunity to propose and curate a project at the CCA related to contemporary debates in architecture, urban issues, landscape design, and cultural and social dynamics. 

    Evangelos Kotsioris, CCA Emerging Curator 2016–2017, is a New York-based architectural historian, curator and architect. His research focuses on the intersections of architecture with science, technology and media. He is a Curatorial Assistant in the Department of Architecture & Design at the Museum of Modern Art in New York. In 2016 he was the Assistant Curator of the 3rd Istanbul Design Biennial, Are We Human? curated by Beatriz Colomina and Mark Wigley and co-curator of the ongoing collaborative research project Radical Pedagogies, which was awarded a Special Mention at the 14th Venice Biennale of Architecture. Currently he is completing his PhD at Princeton School of Architecture. His dissertation composes an architectural history of computerization during the Cold War and has received the Carter Manny Citation for Special Recognition by the Graham Foundation. Kotsioris graduated with first class honors from the School of Architecture of AUTh in Greece and holds a MArch II from Harvard Graduate School of Design. He has been a travelling fellow of the Society of Architectural Historians and a graduate fellow of the Princeton Institute for International and Regional Studies. Kotsioris has taught at Harvard, Princeton, the Boston Architectural Center and The Cooper Union.


  • Picturing Milwaukee: Sherman Park Summer 2018 Buildings-Landscapes-Cultures Field School

    Milwaukee | Dates: 04 Jun – 13 Jul, 2018

    Class Dates: June 4 - July 13, 2018; Final exhibit: July 21, 2018
    Preparatory Workshop (attendance required), Tuesday, May 29. 2018, 10:00 AM - 4:00 PM. School of Architecture and Urban Planning, UWM

     
    You may participate in this field school free as a community intern. However if you want university credits you will need to sign up for summer school classes at http://www4.uwm.edu/schedule/
    We will be accepting a maximum of 15 students.  You may take a maximum of 6 credits.  Choose from the list below. 

    ARCH 534 Field Study. –3 cr.
    ARCH 553: Vernacular Buildings/Groupings 
    ARCH 561 Measured Drawing for Architects. –3 cr.
    ARCH 562 Preservation Technology Laboratory. –3 cr.


    This summer course provides students an immersion experience in the field recording of the built environment and cultural landscapes and an opportunity to learn how to write history literally “from the ground up.”  The 2018 field school focuses on Sherman Park, a racially, economically and culturally diverse neighborhood known for its artist communities and active neighborhood groups. We are interested in examining what environmental justice and climate justice mean to the residents of Sherman Park, how they define and address these issues at a grassroots level, and how individual practices of caring and stewardship ensure equitable access to resources for all community residents. 

    This project seeks to employ the enduring creativity of storytelling, the power of digital humanities, and depth of local knowledge to galvanize Milwaukee residents to talk about their homes as repositories of community memory, spaces of caring and markers of civic pride. Students will learn how to “read” buildings within their urban material, social, ecological and cultural contexts, create reports on historic buildings and cultural landscapes and produce multimedia documentaries.
     
    The five-week course calendar covers a broad array of academic skills. Workshops during Week 1 will focus on photography, measured drawings, documentation and technical drawings; no prior experience is necessary. Week 2 will include archival and historical research focusing on the study of the built environment. Week 3 schedule includes workshops on oral history interviewing and digital ethnography. Week 4 is centered on mapping and archival research. Week 5 and 6 will be devoted to producing final reports and multi-media documentaries.
     
    Nationally recognized faculty directing portions of this school include Jeffrey E. Klee, Colonial Williamsburg Foundation, Anna Andrzejewski, Associate Professor of Art History, University of Wisconsin-Madison, Michael H. Frisch, Professor and Senior Research Scholar, University at Buffalo, Guha Shankar, Folklife Specialist at the American Folklife Center, Library of Congress, Washington, D.C., and Arijit Sen, Associate Professor of Architecture, University of Wisconsin Milwaukee.
     
    Documentary equipment, and supplies, will be provided, but students must be able to fund their own travel, meals and modest lodging accommodations (if they are from out of town). 


  • Online Graduate Certificate in Historic Preservation

    Dates: 23 Mar – 15 Aug, 2018
    This summer and fall the University of Kentucky Department of Historic Preservation will be offering our largest selection of distance learning courses since initiating our online Graduate Certificate in Historic Preservation.

    Summer 2018
    • HP 601 Introduction to Historic Preservation (online)
    • HP 676 Field Methods in Heritage Conservation (hybrid)
    • HP 772 Adaptive Reuse (hybrid)

    Fall 2018
    • HP 601 Introduction to Historic Preservation (online)
    • HP 617 Historic Preservation Planning (online)
    • HP 671 Introduction to Cultural Resource Management (online)

    We are particularly excited to announce the intensive week-long field school portion of HP 676 Field Methods in Heritage Conservation, one of our hybrid courses will be based this summer at the Pine Mountain Settlement School, a National Historic Landmark located in the heart of the Appalachian Coalfields. Frequently asked questions about the Field School, as well as information about how to apply for a limited number of partial tuition scholarships, can be found on the Field School in Heritage Documentation Home Page.

    We are also pleased to announce the addition of a new hybrid course, HP 772 Adaptive Reuse.  Our hybrid courses combine online instruction with intensive short-term in-person learning experiences. While the week-long hands-on portion of HP 676 Field Methods in Heritage Conservation is field based, the face-to-face portion of HP 772 Adaptive Reuse gives students the opportunity to get hands-on studio experience. The courses are scheduled so students can choose to take one or all three this summer.

    If you have additional questions, please contact:

    Karen Hudson, Ph.D.

    Visiting Assistant Professor

    Department of Historic Preservation

    College of Design

    University of Kentucky

    karen.hudson@uky.edu

     

     
  • CGTrader Digital Art competition

    Dates: 15 Mar – 30 Sep, 2018
    CGTrader, the world's largest database of 3D models and 3D designers, has introduced the Digital Art Competition, which invites all CG artists (both 2D and 3D)!

    You can submit up to three works of art to each of the six categories: Character Illustration, Character Concept Design, Environment Illustration, Environment Concept Design, Object Design, and Object Concept Design. Contestants will also have the chance to achieve the Public Award.

    There are no hard requirements, and artworks do not have to be created exclusively for the competition, so feel free to show everyone your best and favorite works. For more details, visit the competition page and be sure to check out the Categories & Prizes section!

    The CGTrader Digital Art Competition gives participants exposure in our 1.2M+ designer community and the chance to win prizes valued over $60,000.
  • Community Policing in the Nation's Capital: The Pilot District Project, 1968-1973

    Washington | Dates: 31 Mar, 2018 – 15 Jan, 2019

    In 1968, the eyes of a worried nation were on Washington, D.C. After the assassination of Dr. Martin Luther King, Jr., and the ensuing widespread neighborhood destruction that followed in the district and nationwide, what would come next? Would D.C.’s political and community leaders rise to the occasion?

    A new exhibition organized as part of a city-wide commemoration of the 50th anniversary of King’s assassination explores the Pilot District Project (PDP), a local experiment in community policing. The PDP centered on several African American residential and business neighborhoods hardest hit by fires, looting, and other civil disturbances in the spring of 1968. This neighborhood stood in for other streets in other cities where police and the community were often at odds. The neighborhood itself became a training ground for a new type of policing.

    This exhibition will display for the first time a newly discovered collection of posters, maps, and other materials from this innovative community policing plan. Connections between the PDP and other D.C. community groups will illuminate the context of activism in the capital city. The exhibition will introduce visitors to this compelling and timely story of urban policing, community participation and resilience, federal intervention, and a program with good intentions that perhaps was never up to its herculean task.

    This exhibition is a collaboration between the National Building Museum and the Historical Society of Washington, D.C.

  • Institute for Advanced Study, School of Historical Studies, Opportunities for Scholars 2019-2020

    Princeton | Dates: 01 Jun – 15 Oct, 2018
    The Institute is an independent private institution founded in 1930 to create a community of scholars focused on intellectual inquiry, free from teaching and other university obligations.  Scholars from around the world come to the Institute to pursue their own research.  Candidates of any nationality may apply for a single term or a full academic year.  Scholars may apply for a stipend, but those with sabbatical funding, other grants, retirement funding or other means are also invited to apply for a non-stipendiary membership.  Some short-term visitorships (for less than a full term, and without stipend) are also available on an ad-hoc basis.  Open to all fields of historical research, the School of Historical Studies' principal interests are Greek and Roman civilization, the history of Europe (medieval, early modern, and modern), the Islamic world, East Asian studies, art history, the history of science and philosophy, modern international relations and music studies.   Residence in Princeton during term time is required.  The only other obligation of Members is to pursue their own research.  The Ph.D. (or equivalent) and substantial publications are required.  Further information can be found in the announcement on the web at https://www.hs.ias.edu/mem_announcement, or on the School's web site, www.hs.ias.edu.  Inquiries sent by post should be addressed to the School of Historical Studies, Institute for Advanced Study, Einstein Dr., Princeton, N.J. 08540 (E-mail address: mzelazny@ias.edu).  Deadline: October 15, 2018.
  • IHBC Annual School - Belfast 2018 'Our Shared Heritage - Communication, Negotiation, Transformation'

    Belfast | Dates: 21 – 23 Jun, 2018
    The IHBC has launched the online booking for the next in its celebrated series of Schools – in Belfast on 21-23 June, on ‘Our shared Heritage. Communication | negotiation | transformation’ – with ‘early bird’ booking, bursaries, low-cost residential options, IHBC members and colleagues can explore our Full School tour options, from the global brand of the Titanic quarter or the nationally important country house, to local contested heritage, all offering some of the best value heritage CPD around, and all courtesy of the IHBC.

    This year’s Annual School has a strong international theme led by its Keynote Speakers, Bill Drummond and Jukka Jokilehto and its place in the 2018 European Year of Cultural Heritage, and explores:

    • Community engagement: consultation, politics and heritage

    • Inclusive histories: Historic England’s Enrich the List

    • Heritage funds and funding opportunities

    • Crossing borders and boundaries in cultural heritage

    • Technical insights: From design and detail to projects and planning

    • Extensive case studies: Heritage communication, negotiation and transformation! 

    To book just follow the School’s homepage links or go direct:


    NewsBlog links:


    For all and more on the IHBC’s 2018 Belfast School see belfast2018.ihbc.org.uk


    Watch the introduction of the IHBC Annual School 2018, Belfast on the IHBC YouTube channel

     
  • Charles Rennie Mackintosh Making the Glasgow Style

    Glasgow | Dates: 30 Mar – 14 Aug, 2018

    2018 is the 150th anniversary of the birth of celebrated Glasgow architect, designer and artist Charles Rennie Mackintosh (1868–1928). Glasgow Museums is delighted to celebrate this significant anniversary with a major new temporary exhibition at Kelvingrove Art Gallery and Museum. This exhibition will be one of the key events in the city-wide Mackintosh 2018 programme.

    The exhibition will span the lifetime of Charles Rennie Mackintosh (1868–1928) and taking a chronological and thematic narrative, placing Mackintosh at the core of the story, it will present his work in the context of Glasgow, his key predecessors, influences and contemporaries, particularly those working in the Glasgow Style.

    ‘The Glasgow Style’ is the popular term given to the design and decorative arts centred around the work by teachers, students and graduates of The Glasgow School of Art produced between about 1890 and 1920. At the core of this style is the work of The Four: Charles Rennie Mackintosh, his future wife Margaret Macdonald, her younger sister Frances Macdonald and Frances’s future husband, James Herbert McNair. Glasgow was the birthplace of the only Art Nouveau ‘movement’ in the UK and its style made ripples internationally.

    This exhibition will present the very best of Glasgow’s internationally important civic collections, drawing from both those of Glasgow Museums and The Mitchell Library and Archives. A number of these civic works have never previously been on public display, and the majority has not been shown in Glasgow for 30 or more years. The exhibition will also include important loans from private and public collections. About 250 objects will be on display across the full spectrum of media, including stained glass, ceramics, mosaic, metalwork, furniture, stencilling, embroidery, graphics, books, interiors and architecture. The act of making will be communicated across this breadth of media – both through the exhibition and the accompanying event programme – to truly engage and inspire audiences of all ages to visit the other Mackintosh-related buildings and collections in and around Glasgow, and to make and create.

  • Japan in Architecture: Genealogies of Its Transformation

    Tokyo | Dates: 25 Apr – 17 Sep, 2018

    Japanese architecture today attracts attention from all over the world. Numerous architects, from Tange Kenzo to Taniguchi Yoshio, Ando Tadao, Kuma Kengo, Sejima Kazuyo and other young upcoming architects have received great international acclaim. Founded on rich traditions that have stretch back to ancient times, contemporary Japanese architecture encompasses exceptionally creative and original ideas and expressions.

    In the 150 years following the Meiji Restoration of 1868, architecture presented immense opportunities for experimentation in Japan. How did the long and rich Japanese tradition of wooden architecture evolve, among a great number of practices? What did the West find attractive about architecture in Japan, and how did Japanese architecture then respond to this interest? The transitions of such things invisible to the eye as everyday life and views of nature also provide important elements for understanding Japanese architecture.

    Structured around nine sections based on key concepts for interpreting architecture in Japan today, this exhibition traces the lineage of architecture from ancient times until the present, and explores the elements of genealogy undermined by modernism and concealed beneath, yet undeniably vital still. Featuring important architectural materials, models, and interactive exhibits, the wide-ranging exhibits will illuminate not only the state of Japanese architecture in the past and present but also a vision of the future.

    Organizer Mori Art Museum
    In Association with Architectural Institute of Japan
    The Japan Institute of Architects
    ARCASIA ACA18 Tokyo
    Japanese Society for the Science of Design

    Advisor Fujimori Terunobu (Architect; Architectural Historian; Professor Emeritus, The University of Tokyo)

    Curatorial Team Nanjo Fumio (Director, Mori Art Museum)
    Maeda Naotake (Manager, Architecture and Design Programs, Mori Art Museum)
    Tokuyama Hirokazu (Associate Curator, Mori Art Museum)
    Kurakata Shunsuke (Architectural Historian; Associate Professor, Graduate School of Engineering Urban Engineering [Architecture], Osaka City University)
    Ken Tadashi Oshima (Architectural Historian; Professor, Department of Architecture, University of Washington
  • Docomomo US 2018 National Symposium

    Columbus | Dates: 26 – 29 Sep, 2018

    The 2018 National Symposium, Design, Community, and Progressive Preservation, will take place September 26–29 and feature four days of engaging programming, exclusive tours, evening keynote conversations with visionary leaders, and the American Institute of Architects’ Trade Show showcasing an array of new and innovative building products and services.

    Docomomo US is collaborating with Exhibit Columbus to create the theme of this year’s symposium, which will explore how investing in the value of good design can make communities better for everyone and how new approaches to preservation are positively incorporating our modern heritage into the future of cities.

    “Design and community are central to what makes Columbus a remarkable place to live and visit. We are thrilled to be exploring these topics while also showcasing preservation projects that are growing new communities that care about modern heritage,” said Richard McCoy, Director of Landmark Columbus. “Working with these excellent partners allows us to expand this conversation nationally, regionally, and locally.”

    The symposium will begin with a kick-off keynote conversation produced in partnership with the Indianapolis Museum of Art at Newfields, and then sessions will continue for three days inside many of the iconic buildings throughout Columbus. Finalists in the 2018 J. Irwin and Xenia S. Miller Prize Competition will be introduced during the symposium, and participate in sessions. The symposium will also feature exclusive tours – including the Miller House and Garden – and offer rare glimpses inside some of the modern masterpieces of the city.   

    “Modern design has been and continues to be an integral part of Columbus’ community,” said Theodore Prudon, President of Docomomo US. “In its ability to move the modernity of its past forward into a modernity for its future, it offers Docomomo US an example of how design can play a role in preservation and achieve results that can be best called progressive.”

    Keynote speakers and registration details will be announced in late spring. 
  • Warhol: Flowers In the Factory

    Sarasota | Dates: 28 Feb – 30 Jun, 2018

    Consummately cosmopolitan and cool, Andy Warhol in the great outdoors seems like an oxymoron. Yet the groundbreaking artist known for his Pop Art multiples of celebrities and soup cans created more than 10,000 images of flowers over the course of his career. Warhol: Flowers in the Factory showcases the surprising, and little examined, role of nature in Warhol’s art and life. The spectacular 15-acre tropical setting of Marie Selby Botanical Gardens on Sarasota Bay will provide a matchless context for examining Warhol’s fascination with the natural world in this focused, immersive exhibition.

    Warhol: Flowers in the Factory is curated by Carol Ockman, Ph.D., curator-at-large of Marie Selby Botanical Gardens and the Robert Sterling Clark Professor of Art History at Williams College. It will be on view exclusively at Selby Gardens in Sarasota, Florida, from Feb. 11 through June 30, 2018.

    EXPLORE THE EXHIBITION:

    Conservatory
    Warhol consistently tested traditional boundaries between art and life, and thanks to his perpetual curiosity, the natural world offered a still underappreciated influence on his career.

    In the glass house, our horticultural designers have drawn inspiration from Warhol’s work, using the repetition of shapes and textures, along with bright pops of color, to create vivid scenes of  living art. Lead by the gravity-defying features that make epiphytes so versatile and resilient, plants on display such as bromeliads, ferns and orchids flout conventional presentations.

    Gardens
    As part of this exhibition, the grounds of Selby Gardens have become Warhol’s floral playground. Several outdoor plant scenes – or vignettes – capture the playful spirit of the artist using striking colors, modular planters that are ever-changing in their patterns and unexpected pop culture references.

    Also look for special signage that identifies living plants that are within the same plant families of the plants featured in our museum; Hibiscus comes from the Malvaceae, or mallow family, and the poinsettia is part of the Euphorbiaceae family.

    The Museum of Botany & the Arts
    Upon entering historic Payne Mansion, home to the Museum of Botany & the Arts, you will encounter:

    • Archival photographs of Warhol, his artist friends from The Factory, and images that capture the cultural context that propelled Warhol to fame during the time of the rise of “Flower Power;” The archival photography includes works by Alex Ferrone, Nat Finkelstein, Philippe Halsman, Dennis Hopper, Christopher Makos, David McCabe and Billy Name.

    • A selection of Warhol’s floral-inspired works, including the Polaroid Christmas Poinsettias (1982), which inspired the prints on view; lithographs Flower (1957) and Happy Bug Day (1954); and artist book In the Bottom of My Garden (1956); and

    • Six stunning paintings that capture Warhol’s fascination with flowers.

    About the prints:

    • Four of the artist’s silkscreens entitled Flowers, on generous loan from the Williams College Museum of Art.

    • Two prints entitled Poinsettias, on loan from the private collection of Sarasota art patron Flora Major.

  • PastForward 2018

    San Francisco | Dates: 13 – 16 Nov, 2018

    PastForward is the premier educational and networking event for those in the business of saving places.

    At the PastForward 2018 conference, we'll feature iconic San Francisco, but also show you a progressive city that is tackling climate change and urban density while maintaining its cultural landscape and intangible heritage—issues that will resonate with preservation practitioners across the country.

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