St. Paul, Minnesota
Deadline: Dec 1, 2016
The Italian Art Society is seeking ideas for one sponsored session at
the 71st annual conference of the Society of Architectural Historians
(SAH) in Saint Paul, Minnesota, 18-22 April 2018. Members interested in
putting together a panel on any topic of Italian architecture should
send a brief abstract (500 words max), session title, a short list of
potential or desired speakers (they need not be confirmed), the name of
the chair(s) with email addresses and affiliation, and a one-page CV.
Submit by 1 December 2016 to firstname.lastname@example.org.
Journal of Humanities and Cultural Studies
Submission via email: email@example.com
Publish original research projects in various fields of Humanities,
Culture, History, Politics, International Relations, Education,
Culture, History of Thought, Language and Literature, Economics,
anthropology, business studies, communication studies, corporate
governance, criminology, cross cultural studies,demography development
The Journal of Humanities and Cultural Studies R&D is an open access,
peer-reviewed and refereed journal. The main objective of JHCS is to
provide an intellectual platform for the international scholars. JHCS
aims to promote interdisciplinary studies in humanities, Culture and
social science and become the leading journal in humanities and social
science in the world.The journal publishes research papers in the
fields of humanities and social science such as anthropology, business
studies, communication studies, corporate governance, criminology,
crosscultural studies, demography, development studies, economics,
education, ethics, geography, history, industrial relations,
information science, international relations, law, linguistics, library
science, media studies, methodology, philosophy, political science,
population Studies, psychology, public administration, sociology,
social welfare, linguistics, literature, paralegal, performing arts
(music, theatre & dance), religious studies, visual arts, women studies
and so on.The journal is published in online versions.
The JHCS is now indexed in Research Bible, MIAR, Directory of Research
Journals Indexing , Scipio,Electronic Journals Library, IndianScience,
Jifactor,Polish Scholarly Bibliography (PBN), The LINGUIST List ,
Cosmos Impact Factor (CIF),EBSCOhost
The Temple Hoyne Buell Center for the Study of American Architecture invites submissions for its biennial Dissertation Colloquium, to be held on March 31–April 1, 2017, at Columbia University. This event brings together a select group of doctoral students from diverse institutional and disciplinary backgrounds working on dissertation topics related to the history, theory, and criticism of American architecture, urbanism, and landscape.
Ten to twelve students from universities worldwide will be invited to present a twenty-minute talk drawn from their dissertation research. The presentation is to be based on a self-contained chapter or portion of the stu-
dent’s dissertation research, and should not be an overview or synthesis of the dissertation as a whole. “American” is construed to mean any part or aspect of the American continents, including all of North and South America. Comparative and cross-disciplinary approaches are encouraged.
Students must be enrolled in an accredited doctoral program and have completed their coursework and at least one year of dissertation research.
Submissions must include a complete draft of the intended presentation, including illustrations. Submissions must also be accompanied by the following: a cover sheet specifying the student’s institutional affiliation, postal and e-mail addresses, and phone number; a 150-word abstract describing the paper’s relationship to the overall dissertation topic; and a brief statement from the student’s principal adviser certifying the applicant’s status (stage of completion) in the doctoral program.
Papers selected for presentation will be announced by the end of January, 2017. Each participating student will receive hotel accommodation for two nights and funding toward travel expenses on an as-needed basis. A dinner and reception with associated students and faculty will be included in the colloquium.
The Temple Hoyne Buell Center for the Study of American Architecture is part of Columbia University’s Graduate School of Architecture, Planning, and Preservation. The Buell Dissertation Colloquium has been held since the Buell Center’s founding in 1982. Its purpose is to provide a forum for discussing significant new work by emerging scholars.
For further information, write firstname.lastname@example.org or consult www.buellcenter.org, where past colloquium participants and topics are listed.
Please send electronic submissions in PDF format and no larger than 3MB,
to email@example.com, by Monday, January 9, 2017.
24 architectural photo collages with contrasting images installed in a gallery to create a sense of depth for the viewer. Works include those by Mies van der Rohe, Le Corbusier and Harold Stahl, the architect of St Luke Church (Chicago, 1960).
MAPPING.CRIT.ARCH Third International Symposium
Paris/Rennes, April 3-4, 2017
Institut National d’Histoire de l’Art, Paris / Université Rennes 2
Agence Nationale de la Recherche / The French National Research Agency (ANR)
Toward a Geography of Architectural Criticism: Disciplinary Boundaries and Shared Territories
Mapping.Crit.Arch: Architectural criticism 20th and 21st centuries, a cartography/ La Critique architecturale, XXe et XXIe siècles: une cartographie
(ANR Project ANR-14-CE31-0019-01)
The research project Mapping.Crit.Arch: Architectural criticism 20th and 21st centuries, a cartography, (http://mac.hypotheses.org) funded by the French Agence Nationale de la Recherche, aims to develop a field of research on the history of architectural criticism, from the last decades of the 19th century to the present day. It is based on an international network of scholars, whose interests cover the history of architectural criticism at various levels and through different approaches (including architectural theory, history of preservation, historiography of architecture, history of architectural periodicals and of criticism, history of photography). Nathalie Boulouch (Université Rennes 2 and Archives de la critique d’art), Anne Hultzsch (Bartlett School London and OCCAS, Oslo University), Giovanni Leoni (Università di Bologna), Paolo Scrivano (Xi’an Jiaotong-Liverpool University), Laurent Stalder (ETH Zurich), Suzanne Stephens (Barnard College, Columbia University), Alice Thomine-Berrada (Musée d’Orsay, Paris) are the members of this network, which is administrated by the Université Rennes 2 and coordinated by Hélène Jannière (Université Rennes 2).
This call for papers is for the third of three international events planned by the Mapping.Crit.Arch Project to foster scholarship on the history of architectural criticism and facilitate exchanges between scholars active in this field of research.
Call for Papers
After the first workshop (Université Rennes 2 and Archives de la critique d’art, Rennes, January 2016), centered on the relationship of criticism to “public opinion” and on criticism as an autonomous discipline, the second workshop (Università di Bologna, October 2016) focused on the actors and “vehicles” of architectural criticism.
This third international symposium, to be held in Paris (Institut national d’histoire de l’art) and Rennes on April 3rd and 4th, 2017, intends to debate two key questions related to the geographies of criticism: what are criticism’s disciplinary boundaries and which territories has criticism shared from the last decades of the 19th to the end of the 20th century with other disciplines.
In the first place, the symposium interrogates the overlapping of architectural criticism with different kinds of architectural writing, in particular those pertaining to architectural history and theory, but also those stemming from disciplines as diverse as sociology, anthropology, and philosophy.
The symposium is equally aimed at highlighting the relationships, the common terrains, and the conceptual tools that architectural criticism has in common with other genres of criticism, such as art criticism, music or film criticism, and literary criticism.
The term “territory” is used here to refer primarily to the various disciplinary fields on which criticism relies and from which it borrows its concepts and patterns of interpretation, as well as its intellectual tools. The term “boundary”, for its part, is used to denote the zones of exchange and confrontation between criticism, history, theory and other types of writing on architecture, as well as between architectural criticism and other forms of criticism. The main aim of the symposium is to map these territories and delineate these boundaries.
1. Intellectual territories of architectural criticism: mapping disciplines, concepts, and “critical tools”
Defining the nature of criticism -- that is, outlining its boundaries, designating its tasks, and determining its object (the techniques, programs, forms, constructive solutions, or social uses of architecture) -- has been variously attempted, in past and recent times.
Many of those who have tried to give a clearer definition of criticism seem to have often failed to get past the preliminary question concerning its disciplinary frontiers as well as its perimeter, thus illustrating the semantic uncertainty that surrounds the term. This uncertainty does not simply concern the question of where criticism ends and parallel disciplines begin: the definition of “architectural criticism”, in fact, indicates alternately a profession (if one refers to the critics and their activity), a set of social practices, or a discourse on architecture within academic institutions -- with a wide range of disciplinary orientations (history, aesthetics, sociology, anthropology, to name only a few). Moreover, architectural criticism encompasses multiple registers of discourse, from manifestoes to aesthetic analysis, architectural description, and technical specifications. Architects and architectural critics, for example, put forward the specific nature of architecture -- a multifaceted endeavor involved in economic, technological, social and urban practices -- to explain the difficulty of setting the boundaries of architectural criticism and itemizing its modes of writing. Defining the frontiers and delineating what criticism encompasses largely depends on the disciplinary standpoints adopted. Moreover, the frontiers and the perimeter of criticism vary from one cultural context to another.
In order to foster a debate about the disciplinary territories of architectural criticism, the symposium intends to “map” these orientations, registers of discourse, and set of activities.
The symposium’s primary goal is to scrutinize the overlapping and blurred boundaries of criticism with other kinds of writings on architecture. Among the questions the event intends to pose are: does criticism borrow parts of its concepts and patterns of interpretation, modes of description, and schemes of narration from other better-defined or more “canonical” types of architectural writing like architectural history and theory? Or, does it connect to domains of knowledge like sociology or anthropology?
Paper proposals are expected to investigate the “migration” of concepts from one field to another, together with their subsequent transformation, and to scrutinize criticism’s borrowing of conceptual tools from history, theory, anthropology, etc.
Proposals are also expected to put into question the “typologies” of criticism -- in particular, the categories that recurrently describe the so-called “typologies of criticism”, such as “learned” vs. “popular”, professional vs. layman, formalist vs. technical, etc. -- and the criteria on which these typologies are based.
2. Architectural criticism and “other” forms of criticism
The above-mentioned term “territory” equally relates to the boundaries and frontiers that criticism shares with other fields of knowledge and artistic expression. By exploring this aspect, the symposium aims to question the opposition between two distinct conceptions of architectural criticism, one as “a type of criticism” and the other as an autonomous or disciplinary discourse. Peter Collins emphasized this opposition between these two conceptions by stating that architectural criticism “… is an activity which must be considered sui generis” and exclusively linked to architecture rather than “a species or aspect of a general activity called ‘criticism’”.
Architectural critics have underlined the possible links between architectural criticism and literary criticism (“the source and mold of all other forms of criticism,” in the words of Yorgos Simeoforidis ). Historians and critics of architecture are generally less inclined to establish parallels with art criticism, often rejecting it as a possible “source and mold” for architectural criticism. The rejection of any possible analogy with art criticism is based on a truism: architecture cannot be reduced to a form of visual art, given the multiple frameworks (aesthetic, technical, social, economic) it encompasses.
On the opposite, architects and architectural critics often put the accent on the similarities between the fields of architecture and music, or architecture and cinema. Starting from this assumption, they more willingly put forward the comparison between architectural criticism and music or film criticism. Is such parallel grounded on shared notions, rhetorics or theoretical tools, which are common to both fields? This part of the symposium is open to proposals that analyze these similarities and overlaps between different fields. It is equally open to specialists of art criticism as well as criticism of music, film, and literature, in order to animate a debate on the possible relationships between various forms of criticism and their shared territories.
By addressing all those questions, the symposium intends primarily to interrogate the multiple definitions of architectural criticism, without giving any prescriptive or normative definition of what “good” or “real” criticism might or should be.
These issues can be approached from different cultural and geographical standpoints, in an attempt to help sketch a vast set of definitions of criticism, closely related to various cultural and intellectual traditions.
Nathalie Boulouch (Université Rennes 2 and Archives de la critique d’art),
Anne Hultzsch (Bartlett School London and OCCAS, Oslo University),
Hélène Jannière (Université Rennes 2)
Réjean Legault (Université du Québec à Montréal)
Giovanni Leoni (Università di Bologna)
Paolo Scrivano (Xi’an Jiaotong-Liverpool University)
Laurent Stalder (ETH Zurich, gTA)
Suzanne Stephens (Barnard College, Columbia University)
Alice Thomine-Berrada (Musée d’Orsay, Paris)
Abstracts in English of maximum 300 words, accompanied by a short CV including name, affiliation and a list of selected publications (all in one file in word or rtf format), must be sent by January, 8th to:
Notification of acceptance will be sent to authors by January 22nd.
For questions regarding the organization of the workshop, please contact:
firstname.lastname@example.org or email@example.com
There is no registration fee; unfortunately, our organization cannot cover travel expenses.
Design Dispersed: Forms of Migration and Flight
LMU Munich, Germany
9-10 February 2017
Organizers: Burcu Dogramaci, Kerstin Pinther for AG Kunstproduktion und Kunsttheorie im Zeichen globaler Migration
The transdisciplinary conference "Design Dispersed" pursues the complex and heterogeneous connections between migration and design in the 20th and 21st centuries. Its spectrum ranges from Hussein Chalayan?s collection "Afterwords" (2000), which broaches the issues of migration and displacement through the transformation of furniture into mobile garments, to the Beirut-based Bokja Desig?s "Migration Series" (2013), Wal? Oy?jid??s fashion designs "After Migration" (2016), and Lucy Orta?s "Refuge Wear ? Habitent" (1992-93). The conference will also include historical emergency shelter projects, the flight and exile of Bauhaus architects and designers, and participatory design projects with refugees. Although questions of art production and theory have meanwhile repeatedly been made a subject of discussion within the context of global migration, a fundamental and comparative historical engagement with design and migration is lacking. In order to bring these extremely partitioned!
discussions together, we propose a design concept that encompasses all formative approaches to the design of things and products ? including design and architecture. On one hand, questions arise regarding the aesthetic effects that result from the networking, overlapping, and mixing of forms, as well as regarding the political and social dimensions of design on the other hand.
In three thematically intersecting panels, objects and design practices will be discussed within the context of migration, exile, and flight.
Design Dispersed ? Forms of Migration asks how experiences of migration, flight, and exile are mirrored in the things designers create. We?re interested in artifacts that make these social and political dimensions experienceable. How are these processes inscribed in an object?s history ? and how do they become part of the product experience? How does the notion of "home" or "homeland" materialize in objects? What kind of role does the materiality of the thing play in this context? Following the so-called global turn in design history (see Riello et al, 2011) we?re also interested in (historic) 'designs' in which transculturality is reflected as a double figure of cosmopolitanism and locality. The movements of objects will be traced here. Which forms of conceptual, textual, and material mixtures does this produce?
Design Dispersed ? Design by and for Migrants wants to critically historicize and discuss design concepts for refugees, particularly in the field of architecture and social media. In light of the more than 65 million people fleeing from war, conflict, and persecution, the topic of design and society has developed a particular (renewed) relevance. This is not only apparent in a series of different initiatives like "What Design Can Do" or "Better Shelter Org," but also in first exhibitions (like MOMA 2017, Architecture of Displacement). On the other hand, migrants and refugees also create indispensable things. Taking these manifestations of a design and product culture from migrants under consideration is also a desideratum.
Design Dispersed ? Designers as Cultural Agents and Brokers takes the actors in design themselves under consideration. Here the migration of architects under the conditions of exile ("migrant Bauhaus") and the localization of their creations will be made a subject of discussion, alongside more recent (temporary) re-migrations of designers and architects educated in Europe or America to their home countries (like Francis K?r? or Kunl? Adeyemi). The discussion of a design practice as possibility of identitary re-enactment, as in the fashion design of Bobby Kolade or Haider Ackerman, offers points of reference. What kinds of new topographies and networks emerge in the field of design and collaboration from this change in location? Historical case studies, such as the design work of Scharoun?s student Chen-Kuen Lee in the Berlin context, are also welcome.
Unfortunately participants have to pay travel costs and accommodation themselves.
Please send abstracts (200 words) with a short CV by 30 November to Burcu Dogramaci (firstname.lastname@example.org<mailto:email@example.com>) and Kerstin Pinther (firstname.lastname@example.org<mailto:email@example.com>).
The editors of Preservation Education & Research (PER) invite papers on the use of the digital humanities to teach, research, communicate, and experience aspects of the historic environment for the 10th (2017) edition of the journal. Digital humanities are commonly defined as the application of digital content, methods, and tools to the disciplines of the humanities. Preservationists are already well acquainted with digital content and tools such as mapping, laser scanning, and the online archiving of historical documents, to name only a few. These approaches have undoubtedly extended the reach and depth of preservation practice, yet there remains enormous potential for digital tools and methods to enable new research questions, interpretations, and experiences that otherwise may be impossible.
PER welcomes paper manuscripts on subjects that may include but are not limited to the following examples:
• Tours that make use of smart phones and tablets to feature archival information, video, sound, and other media that augment reality or enhance understanding of the built environment.
• Geospatial analysis, mapping, modeling, and visualizations that illustrate change over time, distribution of historical features, or other patterns that reveal aspects of historical significance.
• Digital storytelling or digitally recorded and disseminated oral histories as a means of enriching knowledge about the history of places or the meanings they hold for people across time.
• Web-based surveys, social medial platforms, or other interactive, digitally-enabled public engagement methods for advancing approaches to values-based preservation planning.
• Preservation-related research made possible by recently-digitized, primary source data.
• Historic sites and museums enriched by digitally-enabled, multisensory, auditory, visual, or olfactory experiences.
• Successes and challenges associated with incorporating the digital humanities into preservation pedagogy.
While we encourage submissions based on this issue’s theme, papers on all topics related to preservation education, research, and scholarship will also be considered. The deadline for submission of papers (4,500-6,000 words in length) is February 15, 2017. All submissions must be emailed to firstname.lastname@example.org and must adhere to the journal’s publication guidelines located at http://www.ncpe.us/publications/manuscriptsubmissionguidelines. Papers will be blind reviewed and authors notified of publication status by April 2017.
Preservation Education Research (PER) is a refereed journal focusing on scholarship related to historic preservation (e.g., heritage conservation/cultural patrimony) education that addresses the historic environment. The National Council for Preservation Education (NCPE) launched PER in 2007 as part of its mission to exchange and disseminate information and ideas concerning preservation education, current developments and innovations in preservation, and the improvement of historic preservation education programs and endeavors in the United States and abroad. For more information about NCPE and PER, visit http://www.ncpe.us. Back issues of PER are also available on NCPE’s web site.
September 18-26, 2017
Directed by Andrew Moore and run in association with the British School at Rome this programme considers palaces and villas with their collections in the light of papal patronage. Visits will include some of the most important Roman palaces still intact, including a number still in private hands, such as the Palazzo Corsini and the Palazzo Colonna. Travelling through the Roman Campagna to Naples visits will include the Pio Monte della Misericordia, the newly opened Museo Civico Gaetano Filangieri, the Villa Caserta just outside the city and Herculaneum. Some scholarship funding may be available. Application information at http://www.americanfriendsofattingham.org/studyprogramme.html
Deadline for applications: February 12, 2017
THE 66th ATTINGHAM SUMMER SCHOOL
June 29-July 16, 2017
Directed by David Adshead and Elizabeth Jamieson, and accompanied by specialist tutors and lecturers, this intensive 18-day course will include visits to approximately 25 houses in Sussex, Nottinghamshire, Derbyshire and Oxfordshire. The Summer School will examine the country house in terms of architectural and social history, and the decorative arts. Applications are invited from those working in related fields and some partial scholarships are available.
The 41st GSA Conference in Atlanta, Georgia (5-8 October 2017), will continue to host a series of seminars in addition to its regular conference sessions and roundtables.
Seminars meet for all three days of the conference. They explore new avenues of academic exchange and foster extended discussion, rigorous intellectual debate, and intensified networking. Seminars are typically proposed and led by two to three conveners and they consist of approximately 12 to 20 participants, including representation from different disciplines, a representative number of graduate students, and faculty of different ranks. For example, seminars may enable extended discussion of a recent academic publication; the exploration of a promising new research topic; engagement with pre-circulated papers; an opportunity to debate the work of scholars with different approaches; the coming together of groups of scholars seeking to develop an anthology; or the in-depth discussion of a political or public-policy issue, novel, film, poem, art work, or musical piece.
Seminar proposers should design topics that will suit the three-day structure of the conference and also submit a list of potential applicants while providing enough room for other GSA members to participate. The purpose of this list is to show that an outreach effort has been undertaken. Invited participants do not make any commitment until they officially apply for the seminar after its approval. It is important to note that application to all approved seminars will be open to all GSA members and that there is no guarantee that invited participants will be accepted. The conveners’ decision on which applicants will be accepted or might be rejected will be based on a) the quality of the applicants’ proposals, b) a balanced proportion of professors at different career stages and graduate students, and c) the disciplinary diversity of the seminar.
In order to reach the goal of extended discussion, seminar conveners and participants are expected to participate in all three installments of the seminar. We ask seminar conveners to monitor attendance and inform the program committee about no-shows during the conference. Please note that seminar conveners and seminar applicants who have been accepted for seminar participation will not be allowed to submit a paper in a regular panel session. However, they may moderate or comment on another session independent of their enrollment in a seminar.
Although we accept proposals from conveners who have directed a seminar during the past two consecutive years on a topic or two separate but closely related topics, we recommend that they also contact the coordinators of the interdisciplinary Networks, Professors Jennifer Evans (JenniferEvans@cunet.carleton.ca) and Pamela Potter (email@example.com) to establish an official GSA Network on their topic.
The application process has two steps. We invite you to submit a preliminary proposal that includes the title and a 100-word description of your seminar by November 21, 2016. The committee will then provide suggestions and assistance for the final submission which is due by December 8, 2016. Submit your application online at: https://www.xcdsystem.com/gsa.
Please note that, despite the new screen "look," your user name and password remain unchanged.
If technical questions or problems arise, please contact Elizabeth Fulton at firstname.lastname@example.org.
For your application you need:
A 500-word description that addresses:
a. the intellectual goals of the seminar
b. briefly whether participants will be asked to write and read pre-circulated papers and, if so, of what length;
c. briefly whether you will assign additional readings;
d. briefly your communication with seminar participants in the months leading up to the conference;
e. briefly the role of the conveners.
A list of invited participants, their institutional affiliations, discipline, and academic rank.
Mini-biographies of all conveners of no more than 250 words each.
The GSA Seminar Committee will review seminar proposals after December 8, 2016, and it will post a list of approved seminars and their topics on the GSA website by early January 2017. Between January 5 and January 26, 2017, the GSA members will be invited to submit their applications for participation in specific seminars. The conveners will then select the participants and submit their fully populated seminars to the GSA Seminar Program Committee for the final approval. The GSA Seminar Committee will inform seminar conveners and applicants on February 5, 2017, about the final makeup of the seminars. (These deadlines have been chosen to allow time for those not accepted to submit a paper proposal in response to the general call for papers.)
The GSA Seminar Committee consists of:
Heikki Lempa (Moravian College) | email@example.com
Maria Mitchell (Franklin and Marshall College | firstname.lastname@example.org
Carrie Smith-Prei (University of Alberta) | email@example.com
Please direct all inquiries to all three of us.
30 November - 2 December 2016
Venue: German Center for Art History, Hôtel Lully, 45, rue des Petits-Champs, 75001 Paris/France
FULL PROGRAM AVAILABLE ON WEBSITE
International conference of the Cluster of Excellence “Asia and Europe in a Global Context” (Global Art History) at Heidelberg University, the German Center for Art History Paris, CRIHAM/Department of Art History and Archaeology at University of Poitiers, the Centre André Chastel (CNRS/University Paris-Sorbonne) and the Association d’Histoire de l’Architecture (A.H.A.)
Concept of the Conference
Michael Falser (Heidelberg University)
In the last twenty years, architectural historiography approached regionalism as a pan-European movement between 1890 and 1950 which, as a flipside of the International Modern Movement with its rationalist and cosmopolitan agenda, helped to reinforce regional identities through the language of regionalist building styles. When European nation states such as France, Great Britain, Netherlands, Germany etc. entered a late-modern phase of political saturation and a stronger need of cultural self-definition, architectural regionalism emerged as a polymorphic set of artistic strategies: fostered either by centralist regimes to stabilize the national project through a higher (however controlled) valorisation of its peripheral elements, or by centrifugal forces towards provincial independence. In France, for example, this regionalist movement was particularly developed through a whole range identity-building structures in neo-Basque, neo-Breton etc. styles, but also in a kind of regionalist eclecticism for seaside architecture.
Latest projects to write a 'global history of architecture' or a canon of 'world architecture' comprised of rather additive architectural case-studies around the globe with an ordering system along geographic and political entities (Europe or Non-Europe), but did not yet transpose the above-mentioned scenario to the global arena: in comparing the strategies of political and cultural stabilization, negotiation and/or resistance through architectural regionalism, a structural analogy of the centre-periphery model can also be detected between the European metropole and its overseas colonies, resp. between those colonies’ capitals and their own provinces. If 'area studies' identified similar regionalist policy changes from cultural assimilation (direct transfer) to association (regional adaptation) for European colonies in Asia and Africa during the same period (1890-1950), then the emerging 'neo-vernacular styles' in the colonies (such as the Style indochinois in French Indochina or the 'neo-Mauresque' style in French North Africa, the Indo-Saracenic Style in British India, or the Indische Stijl in the Dutch East Indies etc.) – can be read as Non-European variants of 'regionalist styles' in the European nation states. This 'trans-cultural' approach frames the diverse regionalist formations of architectural styles and forms as one globally connected process.
Transnational approaches to set the different European colonial contexts within the first half of the 20th century in relation to each other can also help to conceptualise the recent inter-related effects between globalisation and decentralisation (like in France) where the notions of the global and the local are often enmeshed simultaneously in contemporary architecture.
We are pleased to announce that we are now accepting nominations for the annual Arthur Ross Awards, which celebrate excellence in the classical tradition. The Arthur Ross Awards honor lifetime achievement, a career, or a body of work.
This year, we request that all nominations be submitted electronically. The nomination guidelines can be found online. Self-nominations from individuals, firms, institutions, and organizations are accepted. The deadline to submit a nomination for the 36th annual Arthur Ross Awards is Friday, December 9, 2016.
Papertrails and Polychromies at Persepolis: Working on the Monuments of Darius the Great (549-486 BCE) in Iran
A Lecture by Alexander Nagel, PhD
Wednesday, December 14, 2016
The impressive monuments on the UNESCO world heritage site of Persepolis near the modern city of Shiraz, Iran remain one of the best-preserved architectural edifices to study aspects of ancient architecture and technology between the 6th and 4th centuries BCE. Excavated since the 19th century, the buildings at Persepolis as well as those at Pasargadae and Susa were originally covered with bright colors and metal attachments. Since 2006, Dr. Nagel has been working with colleagues on the sites to determine the original polychrome appearance and to understand the functioning of the work force on the monumental architectures of these sites. This talk will provide an overview of the work, look at early 20th century polychrome Persian architecture displays in Washington, DC, and invite the audience to look beyond traditional ways of looking to past architectures, cultures and their modern preservation and display.
EXTREME: Rethinking the Limits to Community, Architecture, and Urbanism
Longyearbyen, Svalbard, 21-25 January 2018
Density and sparsity, height and depth, hot and cold, centre and periphery, wet and dry, war and conflict: People the world over have adapted their living practices, architectures, and landscapes to extreme conditions. In our globalised era, local conceptions of the ideal dwelling, city, and community are increasingly exposed to alternative understandings. How do the house in the country and the flat in the skyscraper, the remote mountain village and the hyper-dense world city, the frigid arctic science station and the blazing desert financial district differ from and resemble one another? Can extreme environments foster innovative lifestyles that are conducive to community and inspire beneficial future urbanisms? Or do the technical solutions relied upon to help people cope with extremes of population, climate, light, height, and other factors necessarily distance people from each other and from the natural environment?
This interdisciplinary conference probes the limits to community, architecture, and urbanism from the perspectives of urban studies, geography, design, architecture, anthropology, sociology, and other fields and disciplines.
About Longyearbyen, Svalbard.
Longyearbyen (population 2200) is the world's northernmost town, the main settlement in Norway's vast, icy Svalbard archipelago. The polar night, when the sun never breaches the horizon, lasts from late October until mid-February. Most residents stay for only a season or a few years, and even those who remain must eventually return to their homelands: Because Norway provides no health and social care, it is colloquially said that 'In Svalbard, it is illegal to die.' Furthermore, the risk of attack by polar bears means that people are only permitted to leave town in the company of someone with firearms training.
Although Longyearbyen is iconically remote, the town is highly cosmopolitan, hosting citizens of over 40 nations and an economy based on tourism and mining.
About the conference.
Delegates will arrive in Longyearbyen on 21 January. On 22 and 25 January, delegates will take tours out into Svalbard's spectacular arctic landscape: a hike to an ice cave and a trip out into the polar night on by dog sled. Conference presentations by delegates will be held on 23-24 January at Radisson Blu Polar Hotel Spitsbergen. Full registration covers five dinners and all conference activities.
How to make a presentation.
Presentations are welcome on all aspects of life in extreme conditions. Presentations last 15 minutes and will be followed by around 5 minutes' question time. The early deadline for abstracts is 28 February 2017, but to take advantage of early registration rates and ensure that you have time to seek funding from your institution or government, we recommend that you submit your abstract early. You can submit an abstract here: http://www.islanddynamics.org/extreme/cfp.html
If you have any questions, please e-mail convenor Adam Grydehøj (firstname.lastname@example.org).
We are delighted to announce that VRA Travel Awards are available for attendance at the 2017 VRA conference in Louisville, Kentucky, March 29-April 1, 2017. The deadline for receipt of applications will be Monday, November 21, 12pm EST. The list of recipients will be announced on the VRA listserv the week commencing December 12.
A preliminary conference schedule with a listing of workshops and sessions can be found here: https://vra34.sched.org/.
Information about costs is posted here: http://www.vraweb.org/conferences/vra34/registration/ and here: http://www.vraweb.org/conferences/vra34/accomodations/
Before you apply, PLEASE READ "Travel Award Rules, Guidelines and Tips” for VRA Travel Awards Applicants, and "Types of Travel Awards", both linked here as PDFs:
HERE'S THE LINK TO THE APPLICATION (also accessible from the VRA Travel Awards Committee webpage):
You do not need to be a member of the VRA to apply for a travel award, but please note that upon winning an award an applicant who is not a member of VRA must purchase a membership.
Please also note that award checks are distributed at the conference and as such, recipients will not have access to those funds ahead of the conference to set against travel expenses.
In order to allow funding to go further, Tansey awards will be distributed according to financial need i.e. full awards (up to $850) may be given to some, whilst lower amounts may be awarded to others with partial institutional/ other support. Travel Awards are intended to provide partial support for an individual's conference attendance, and typically supplement support from one's employer and/or personal resources.
For 2017, we are fortunate to have generous financial support from sponsors and funds provided by the membership including:
* Two New Horizons awards of $850 each. These awards are aimed at members in the following categories: solo VR professionals, part-time VR professionals, geographically isolated VR professionals, VR professionals in smaller institutions, and/or first-time attendees
* A New Horizons student award of $300, for a full-time student enrolled in an accredited degree program and considering a career in visual resources
* Kathe Hicks Albrecht award of $850
* Tansey fund awards ranging from $250 to $850 each
More awards may become available and will be announced on this listserv. Also, stay tuned and watch VRA-L and the VRA website for further details about the conference. Please email if you have any questions not answered by the documents noted above.
So don't delay - apply today!
We look forward to receiving your applications,
Marcia Focht & Michael Donovan
Co-Chairs, VRA Travel Awards Committee
Curator of Visual Resources
Michael J. Donovan
Senior Cataloging and Metadata Assistant
John. M. Flaxman Library | The School of the Art Institute of Chicago
37 South Wabash, 5th FL, Chicago, IL 60603
312.759.1578 | email@example.com
Travel to northern Scotland with Adventures in Preservation to help save one of the last remaining Edwardian glasshouses. Delight in the area’s unique microclimate – both warmer and drier than the rest of Scotland – while you explore the Burgie Estate’s unique story: ruins of a medieval castle, an Edwardian greenhouse and elegant country home, and a man named Hamish who is dedicating his property to conservation.
The focus of this hands-on experience is rescue of the greenhouse, which is deteriorating and in dire need of conservation. Survival of the greenhouse is key to Hamish Lochore’s efforts to establish an arboretum of trees from around the world. A network of international volunteers hand selects seeds and sends them to Scotland where they are nurtured in the greenhouse.
It’s time for action from those passionate about preservation. Project attendees have the opportunity to learn and apply skills involving documentation, carpentry, masonry and glazing. The project is open to all regardless of experience. You will have the option of dividing your time between building conservation and plant conservation.
Details and registration at: http://bit.ly/AiPinScotland
If you can't make it to the National Trust for Historic Preservation’s annual conference, PastForward, Nov. 15-18 in Houston, join us virtually for free. Select conference programming will be live-streamed, including the Closing Luncheon, featuring Theaster Gates, founder and executive director of Rebuild Foundation, and the three TrustLives featuring Rick Lowe, founder of Project Row Houses; Nina Simon, executive director, Santa Cruz Museum of Art & History; and John Valadez, award-winning documentary filmmaker. Sign up as a virtually attendee today.
Call for Papers: Special Collection of Architectural Histories
On the occasion of the 10th Anniversary of the EAHN, we invite scholars to join us in rethinking some of our founding questions: how might the inextricable ties between knowledge and geopolitics be interpreted? And how can we unpack the significance of “Europe” for our scholarly domain today?
Within architectural history we have witnessed Europe cede its position as intellectual hub to North America. But in an increasingly global world, we ask how new distributions of power are currently affecting the production of architectural knowledge.
For this anniversary special collection of our journal Architectural Histories, we invite position papers of up to 3000 words (footnotes and references included) that address these historiographical questions.
Details of the call, and the remit of papers invited, can be found HERE.
Please send abstracts (500 words) to the Editor in Chief by 31 December 2016.
The Summer Institute on Objects, Places, and the Digital Humanities at the National Humanities Center in Research Triangle Park, North Carolina will focus on the theory and practice of digital work for topics in art, architectural, urban history or material culture. The two-year Institute will provide “hands-on” training with tools for geospatial mapping, 3D modeling, photogrammetry, and data collection and visualization.
Participants will develop a digital component to a research project related to the lives of things as interrogations of meaning, circulation, and change over the long life of places and objects. Participants will examine how modeling, database and mapping tools can move research in new directions, reframing evidence towards new questions and expanding scholarship into new arenas of research and public outreach.
The workshop is intended for mid-career scholars engaged in research that can be expanded to include a digital dimension. No previous experience in digital scholarship required. The Institute will be led by Caroline Bruzelius and Mark Olson, both in the Department Art, Art History &Visual Studies and co-founders of the Wired! lab at Duke University. Application may be made until midnight February 21, 2015. Instructions are available via http://nationalhumanitiescenter.org/sidh/index.htm
The Villagers’ Annual House Tour will take place from 10 AM until 3 PM, Saturday, December 3 in Coral Gables. This year’s tour “Finding Fink” is a carefully curated architectural journey featuring the work of Coral Gables visionary, George Fink.
A first cousin of Coral Gables founder George Merrick, Fink was instrumental in the Old Spanish design implemented throughout the city’s early homes and buildings. His architectural work continued in the area to include modern homes in the post-war period.
Members of The Villagers will be on-hand giving guided tours through the homes pointing out significant features of these very special structures. A gift boutique, quilt raffle and holiday treats will also be available. Visitors walk and drive in their own vehicles between the properties. The venues cannot accommodate wheelchairs or strollers, and high heels, photography and video are not permitted.
Tickets are $35 and are available on-line at www.thevillagersinc.org.
All proceeds support the preservation and protection of historic sites in Miami-Dade County, FL. The Villagers, Inc. is Florida’s oldest historic preservation organization. Founded in 1966, the all-volunteer organization is a not-for-profit 501(c)3.