Recent Opportunities

  • The Laboratory Revolution: the Rise of the Modern Laboratory and the Changing Nature of the University, 1850-1950

    Groningen | Dates: 14 Apr – 15 May, 2017
    Laboratories are the ultimate place where knowledge is created. What originally had been the workplace of chemists and alchemists, by the end of the nineteenth century had become a standard element in the infrastructure of science. The rise of the laboratory revolutionized the sciences in many ways and continues to do so. This development has been studied over the past decades by many historians, but the tremendous impact the rise of the laboratory had on the university is less well studied. In the nineteenth century, simple lecture halls were replaced by purpose built science laboratories, that could dominate the city scape. Even academic disciplines that on the face of it needed no laboratory space to develop, like astronomy, psychology and linguistics, each acquired their own laboratories. Also metaphorically, the laboratory became the paradigmatic site for scientific and scholarly research, as is shown by the historians, who liked to compare their libraries to laboratories. Finally, the nature of the academic community was tremendously changed by the rise of the laboratory, each laboratory becoming a small, self-contained community of professors, technical assistants, students, and administrative personnel. The conference ‘The Laboratory Revolution’ intends to bring together scholars from different backgrounds to study how the laboratory changed both science and the university. By bringing together the expertise of historians of science and scholarship, historians of architecture, social and cultural historians, and historians of the university, the organizers hope to create a better understanding of the revolution brought about by the rise of the laboratory – a revolution that is still going on. For further information, go to the website: Key Note Speakers - Antonio Garcia Belmar (Alicante University) - Klaas van Berkel (University of Groningen) - Ernst Homburg (Maastricht University) - Peter Morris (Science Museum, London) - Alan Rocke (Case Western University, Cleveland) - Geert Vanpaemel (University of Leuven) We welcome abstracts for papers on topics related to the conference theme. Possible themes include: the German Model of Laboratory Science, Planning and Construction of University Laboratories, the Design and Architecture of Laboratories, Social Life in the Laboratory, the Differentiation of Laboratory Space, Laboratories as Teaching Units, and Instruments and Laboratories. See also the provisional program on the website of the conference. Please send the abstract of your proposal to Professor Klaas van Berkel ( by May 15, 2017. The abstract must be no longer than 500 words, anonymized for the sake of blind reviewing, and sent as a doc or docx file (please do not use pdf format). The author’s name and contact information (affiliation, address and professional status) should be specified in your e-mail message. If you are not sure whether your proposal fits in the program, feel free to contact the organizers at the above e-mail address. Notification of acceptance will be sent by June 23, 2017.
  • Architecture Space and Society Centre (Birkbeck, University of London): events in May 2017

    London | Dates: 17 – 19 May, 2017
    Three events organized by the Architecture, Space and Society Centre as part of Arts Week at Birkbeck, University of London. Symposium: Art Nouveau and Modernist Architecture: Building the Narratives of Women's Professional Identity Wednesday 17 May, 2pm, School of Arts, Birkbeck, University of London, 43 Gordon Square, London WC1H 0PD, Room G04 Join us to explore how women engaged with architecture around the turn of the twentieth century in order to produce public statements of professional identity. This session focuses on two iconic buildings: the Jugendstil Photo Studio Elvira in Munich (1896 by August Endell) and E-1027 (1926-1929) built in the south of France by Eileen Gray with Jean Badovici. The constructed narratives of female identities are examined in the context of the wider cultural and gendered milieux of these buildings: on the one hand in Munich, a major European cultural centre, on the other in Roquebrune-Cap-Martin, on the French Mediterranean coast, with an escape from the constraints of urban living to the idyll of the Côte d’Azur. Dr. Sabine Wieber, Department of Art History, Glasgow University. ‘”Intimate Collaborations” at the Photo Studio Elvira in Munich’ Dr. Tag Gronberg, Department of Art History, Birkbeck. ‘E-1027: Architectural Relationships Past, Present and Future on the Côte d’Azur’ Dr. Patrizia di Bello, Department of Art History, Birkbeck. Response. ‘Women’s Practice: the View from Gordon Square’. This event is organised by the Architecture Space and Society Centre and the History and Theory of Photography Research Centre as part of Birkbeck’s Arts Week. It is free of charge and all are welcome. This event will be followed on Friday 19 May 6pm by a screening of The Price of Desire (2014). Eileen Gray’s iconic modernist villa E-1027 (1926-1929) in Roquebrune-Cap-Martin on the Côte d’Azur has recently been opened to the public, following extensive restoration. ‘The Price of Desire,’ directed by Mary McGuckian and starring Orla Brady and Vincent Perez offers an account of Gray’s career and professional reputation in the light of Le Corbusier’s subsequent controversial interventions in the villa. ‘The Price of Desire’ is the product of detailed research into the designer’s life. Much of the filming took place on site at Roquebrune and involved numerous reconstructions of Gray’s villa, along with its fittings and furniture. In a context where restoration on E-1027 remains ongoing, the film raises provocative questions regarding the production of modernist histories and how these relate to photography and film. Symposium: Landscape and Power Thurs 18 May 6-7.30pm, School of Arts, Birkbeck, University of London, 43 Gordon Square, London WC1H 0PD, room B03 This event brings together three speakers to share their research on the relationships between landscape, power, territory and memory at three distinct moments: colonial India, Nazi Germany, and contemporary USA/Norway. Swati Chattopadhyay, University of California Santa Barbara (Birkbeck Institute of Humanities Visiting Fellow) Territorial Expansion and the Making of an Affective Landscape in British Colonial India David Haney, University of Kent The Nazi Cultural Landscape: Strengthening Territory through "Earth-Rooted" Monuments Joel McKim, Birkbeck Memorial Landscapes: Utøya and Freshkills Park This symposium is organised by the Architecture Space and Society Centre as part of Birkbeck's Arts Week. It is free of charge and all are welcome.
  • EAHN 2017 Thematic Conference "The Tools of the Architect"

    Dates: 12 Apr – 15 May, 2017
    THE TOOLS OF THE ARCHITECT #EAHNDelft TU Delft and Het Nieuwe Instituut Rotterdam, The Netherlands 22-24 November 2017 Abstract submission deadline: 15 May 2017 CALL FOR PAPERS We are pleased to announce the EAHN’s fifth thematic conference The Tools of the Architect, to be held at Delft University of Technology and Het Nieuwe Instituut HNI (Delft and Rotterdam, The Netherlands) on 22-24 November 2017. Architects have for their activities of drawing, writing and building always depended upon the potential of particular tools –ranging from practical instruments such as straight edges, French curves, compasses, rulers and pencils to conceptual tools such as working drawings, collages, photographic surveys, infographics, diagrams, casts and mass models. As technologies advanced the toolbox of architects has changed and expanded. Today architects have an extraordinary array of sophisticated tools at their disposal but also rely on many of same tools as their 18th and 19th century peers. Working drawings, pencils and tracing paper continue to appear in the designer’s studio while their role and potential is being redefined. This conference wants to focus on the changing practical and conceptual tools of the architect and their effect on the logos and praxis of architecture. Download the full Call for Papers. Abstracts (of 500 words) can be registered and uploaded on the conference website (deadline 15 May 2017). Conference Chairs Tom Avermaete, Delft University of Technology Merlijn Hurx, Utrecht University Keynote speakers Mari Lending (professor of architectural theory and history, Oslo School of Architecture and Design/ OCCAS: the Oslo Center for Critical Architectural Studies) Michiel Riedijk (professor at Chair of Public Building, Delft University of Technology/ Neutelings Riedijk Architects, Rotterdam) Key Dates • 15 May 2017: Deadline Submission of abstracts • 15 June 2017: Notification of Acceptance • 1 September 2017: Full papers All questions to the conference organisation can be addressed to:
  • Improving Sustainability Concept in Developing Countries

    Cairo | Dates: 12 – 14 Dec, 2017
    Given the importance and the impact of the Earth’s ecological systems and refraining from causing any alterations that might be caused by humans, incorporating sustainability in all levels of our daily life has become a challenge as well as a necessity. Nonetheless, we cannot neglect the responsibility of acting with the best of our knowledge to ensure that our actions do not hinder the opportunities and lives of future generations through implementing ecological and sustainable design and development.
  • Conservation of Architectural Heritage (CAH) – 2nd Edition

    Luxor | Dates: 23 – 26 Feb, 2018
    Architecture is the platform where all cultures, heritages, traditions, and histories meet, through architectural conservation, the built heritage is prolonged and conserved by the planning of individuals or organizations that works solely for the purpose of conservation & preservation of Architectural heritage. Through critical decisions that are based on the criteria of combining, artistic, contextual, and informational values, the heritage is preserved, restored, or sometimes, no actions might be taken for the best interest of the cultural and architectural heritage.
  • Archaeology of Communism - Expedition to Communist Monuments of Bulgaria

    Sofia | Dates: 17 Jun – 01 Jul, 2017
    A comprehensive introduction to the Communist-era history, art and architecture in Bulgaria and the role of photography and propaganda. Field trips to and photo-sessions at significant and impressive Bulgarian sites from the period located in spectacular urban and natural environment, behind-the-scene visits and meetings with artists and historians all the way from the capital Sofia to the Black Sea.
  • Dialectic VI: Craft – The Art of Making Architecture

    Salt Lake City, UT | Dates: 09 Apr – 01 Jun, 2017
    Deadline: June 1st, 2017 Requirements: Abstract (350 words) Short CV The crafts, according to standard narration, have been in decline in Western societies since the weakening decline of guilds, the freedom of trade guaranteed by the French and American Revolution, and the rollout of industrialization during the 19th century. The list of casualties caused by free market, mechanical mass production and anonymized distribution is long. Local food production, processing of material by weavers, tailors, and shoemakers, and the making of everyday household tools, goods, furniture and buildings all have all taken a hit. Conversely, its endangered position in industrialized urban capitalism has transformed craft also into a site of resistance. From Luddites to the Arts & Crafts movement to DIY and hacker cultures of today, one can draw a continuous line of critique against mechanized drudgery. These movements instead emphasize creativity, individuality, and personal expression. The joy of the craftsman materialized in the human trace (and imperfection) highlighted by John Ruskin in the West and Sōetsu Yanagi in the Japanese mingei movement does not only insist on a different set of values which elevates the crafted object into the realm of the artwork. It also carries a distinct vernacular connotation. The Red House by William Morris and Philip Webb, for example, was conceived as polemic rural counter model to urbanization spurred by industrialization. It carried high hopes for not only crafting different type of objects, but also alternative communities, communal life styles, and utopian classless societies that would be a long distance from alienating work. Architects, in order to participate in the aristocratic liberal arts and sciences, sustained a difficult relationship with craft. This is clearly true at least since the Italian Renaissance. As Mario Carpo has argued, Alberti’s notion of the building as a mere copy of a preconceived design contributed to the disengagement of concept from material practice. Such detachment still haunts the profession. There are exceptions, such as Gottfried Semper. His insistence on origins of architecture in crafts was developed in reaction to a twofold challenge: a) industrial prefabrication of standardized elements of Crystal Palace, b) the encounter with “primitive” material cultures of colonized peoples in Crystal Palace. Once the working classes took control of means of production, Karl Marx tried to sketch out the future of labor as liberating self-expression. Yet as firm believer in progress, he considered the crafts as something of the past. Despite his claims for a materialist dialectic, Marx did not entirely escape the long tradition of Western philosophers who privileged mind over body, repose over labor, and thought over craft. Martin Heidegger took an alternative trail. He reasoned about craft and the nature of a thing. His pupil Hannah Arendt was critical of this stance and put (political) action above both (philosophical) contemplation, (sustaining) labor and (producing) work. This in turn sparked a reaction in her student Richard Sennett to write The Craftsman. While Arendt remained skeptical against the instrumentality of productive work, Sennett highlights the strength of tradition, skill, and refinement embedded in practice. Yet he muddies the notion of “craft” with his praxological inclusion of every human repetitive activity. Given this state of discourse in the second decade of the 21st century, the editors of Dialectic ask for a re-assessment of craft in architecture. Contributors are invited to consider the critical potential of a discussion (re-introduction?) of the concept of craft into the maelstrom of contemporary spatial practice and current architectural thinking, beyond pure nostalgia for the lost quality of handmade objects. Should we think of the craft at the level of detail and joinery like Mies van der Rohe? What about the death of detailing incurred at the hands of diagrams, images, glue and clamping, as Rem Koolhaas argues? What is the role of craft – normally related to the human body, tools and responsive material – in the immaterial society and virtual economy? Where is the potential (and danger) of “digital craft”, as proposed by Bernard Cache and others? And even if we stay a moment with more traditional concept of craft: what kind of bodies bring forth these repetitive practices? Does craft have a gender? Where are the mistresspieces of architecture? And is there – hidden in the routine and (bodily) memory of practice – a resistance to innovation, to change? Shall one think about the tradition and convention of practice as the anti-avant-garde of architecture? Does it possess an anti-avant-gardist mannerist turn, as alluded by T.S. Eliot and Robert Venturi? Most of all, what is actually the “craft of architecture”? Shall we search for it in the modes of drawing, of model making, of organizing and directing the building process, or writing? What does design craft mean today with regard to photoshopPhotoshop, parametrics and scripting, BIM, digital fabrication, and construction robots respectively 3D-printing? Dialectic VI invites articles, reports, documentation, and photo essays on the craft of architecture and the architecture of crafts(wo)manship. Following the thematic issues of Dialectic II on architecture and economy, Dialectic III on design-build, Dialectic IV on architecture at service, Dialectic V on the figure of the vernacular, the sixth issue of our peer-review journal will explore the topic of craft: the art of making architecture, how, for whom, by whom, employing which techniques, to what ends? The editors value critical statements and alternative practices. We hope to include instructive case studies and exciting models for professional practice. Possible contributions may also include mapping of ongoing debates across the world, and reviews of books, journals, exhibitions and new media. Please send abstracts of 350 words and short CVs to Ole W. Fischer and Shundana Yusaf by June 1st, 2017. Accepted authors will be notified by June 15th. Photo essays with 6-8 images and full papers of 2500-3500 words must be submitted by August 15, 2017, (including visual material, endnotes, and permissions for illustrations) to undergo an external peer-review process. This issue of Dialectic is expected to be out in print by Summer 2018. //////////////////// DIALECTIC a refereed journal of the School of Architecture, CA+P, University of Utah ISSN: 2333-5440 (print) ISSN: 2333-5459 (electronic)
  • Travel Tour: Modern Mexico City

    Mexico City | Dates: 14 – 22 Oct, 2017
    October 14, 2017 - October 22, 2017
    Mexico City - Hotel Camino Real Polanco (8 nights)

    Tour Leaders: Louise Noelle Gras and Kathryn O'Rourke
    Felix Candela Special Guide: Juan Ignacio del Cueto

    Docomomo US welcome guests to join us for our second travel tour series: Modern Mexico City. This nine-day, eight-night trip will focus exclusively on Mexico City's modern architecture, art and design. Highlights of the tour include a special visit to the house and studio of Luis Barragán and the Barragán designed Gilardi House; many important sites by the Mexican architect Mario Pani including the Universidad Nacional Autónoma de México (UNAM) campus (pictured above); and a special full day exploration of the works by Felix Candela including the breathtaking Los Manantiales restaurant. Guests will have the opportunity to visit some of the most important works by Diego Rivera including the murals at the Palacio Nacional and Carcamo de Rio Lerma, with an afternoon visit to the Anahuacali Museum. A full day tour to the archeological site Teotihuacan is planned.

    Modern Mexico City will be led by Louise Noelle Gras, Professor and Researcher at the National University of Mexico and long-standing president of Docomomo Mexico. Joining Ms. Gras will be Kathryn O'Rourke, associate professor of art history at Trinity University and author of the recently published book Modern Architecture in Mexico City. Docomomo Mexico and Felix Candela expert, Juan Ignacio del Cueto, rounds out the tour leadership.

    Guests will stay at the Camino Real Polanco - the legendary hotel designed by Ricardo Legorreta in 1965.

    45 AIA Continuing Education Credits will be available.
  • CFP: Making Futures: Crafting a Sustainable Modernity - Towards a Maker Aesthetics of Production and Consumption

    Devon | Dates: 07 Apr – 22 May, 2017
    Making Futures will be held on Thursday 21st and Friday 22nd September 2017, at the magnificently sited Mount Edgcumbe House on the River Tamar opposite the City of Plymouth, Devon, UK.

    Making Futures is a research platform exploring contemporary craft and maker movements as ‘change agents’ in 21st century society. Convinced of the transformative potential of small-scale making and its capacity to contribute to new progressive futures, Making Futures seeks to situate these material cultures at the centre of the critical issue facing global consumer society: how we move beyond the reductive instrumentalism of ‘homo economicus’ and modes of mass consumption that are destructive of human and non-human natures. As such our purpose is to examine and promote the possibilities for maker economies built around contemporary craft, neo-artisanal design-to-make and related creative micro-entrepreneurs and movements. We believe that these activities have the potential to consolidate into nascent post-industrial maker ecologies that, while not replacing global consumer manufacturing, can nonetheless contribute substantially to progressive economic and social change at local and regional levels, and beyond.

    Crafting a sustainable Modernity - towards a maker aesthetics of production and consumption.

    We start with recognition of the seemingly intractable crises (social, economic and environmental) of late Modernity. But our concern is to explore this problématique through the optic of contemporary craft and neo-artisanal maker movements, and what might be seen as a new emerging ‘aesthetics’ of production and consumption. Therefore, rather than seeing these emergencies as grounds for a sweeping dismissal of the modern project and all its presuppositions, we take our cue from recent commentators who have called for a re-framing of Modernity - one that seeks to re-imagine, and reinvest in its socially progressive elements.

    However, we also take our cue from the Making Futures community itself and the examples it produces of how we might re-frame, re-imagine and reinvest in the socially progressive possibilities of craft and makers. As this community consistently demonstrates through examples of material thinking-in-action, contemporary craft and maker cultures, so often viewed as inferior and marginal to the political economies of modern life, should be recognised as important components of emerging visions of a progressive future worth striving for.

    In addressing these concerns, Making Futures moves between the individual and the social, the personal and the collective, and explores how they can come together in global examples of emerging post-Fordist maker economies. (For example, in the last edition we looked closely at the north Californian ‘Fibreshed’ movement). In this 2017 edition we will turn to explore a European model based on the Berlin ‘alternative culture’ of auteur makers - their appreciation for materials and strong commitment to city and neighbourhood, their concern for environmental factors, re-cycling and up-cycling, and overall scepticism towards the regimes of fast fashion, luxury fashion and big brands.

    Building upon many of the themes running through its four previous editions Making Futures: Crafting a sustainable Modernity will explore what it means ‘to make’ and its future significations - personally, socially, its possible impact on sustainable agendas, its relation to new technologies, its possible subversion of mass consumption and potential contribution to the emergence of new political economies capable of valuing our needs for social well being and resilient communities that incorporate concerns for human non-human natures alike.
  • Berlin/Los Angeles: Space for Music

    Los Angeles | Dates: 25 Apr – 30 Jul, 2017
    Upcoming, April 25 - July 30
    Research Institute Gallery II

    Free | No ticket required

    Berlin/Los Angeles: Space for Music celebrates the 50th anniversary of the sister-city partnership between Berlin and Los Angeles by exploring two iconic buildings: the Berlin Philharmonic (1963), designed by Hans Scharoun, and the Walt Disney Concert Hall (2003) in Los Angeles, designed by Frank Gehry. Both buildings have captured the public's imagination and become signature features of the urban landscape of each city. Focusing on the buildings' extraordinary interiors, this exhibition brings together original drawings, sketches, prints, photographs, and models to convey each architect's design process. Berlin/Los Angeles demonstrates how the Berlin Philharmonic and the Walt Disney Concert Hall were pivotal in fostering a strong resonance between architecture and the city.
  • CFP: UCLA's Critical Planning Journal - Vol. 24, Spaces of Struggle

    Dates: 07 – 30 Apr, 2017
    Urban regions are catalysts of change. They foster pragmatic politics that
    enables more progressive governance. ?Progress,? however, has to contend
    with histories and structures that grew from exclusionary logic, uneven
    development, and the systematic exploitation of labor. Progress does not
    happen on its own; it emerges from the continued efforts of activists,
    engaged citizens, intellectuals, and professionals that strive for a more
    just city. It requires developing common platforms to facilitate the
    conflicts that inevitably come with differences. Spaces of Struggle is
    about creating spaces that harness differences and transforms them into
    momentum for progressive change.

    This special issues amplifies the discussions that grew out of ?The Space
    of Struggle: A Mini-Conference on Radical Planning
    <>,? a pre-conference to the
    annual Association of Collegiate Schools of Planning (ACSP) Conference in
    November 2016 (Portland, OR), organized by urban planning graduate students
    from around the US. We believe radical planning plays a crucial role in
    creating spaces of struggle but equally solicit submissions from outside
    urban planning to open up pathways beyond exclusionary developments.

    The developments taking place since the inauguration of Donald Trump?s
    administration in the US require rapid and assertive intellectual
    engagement. The rise of Trump illustrates a unique moment when
    exclusionary, anti-labor politicians give the neoliberal system a ?face?
    that can serve to unify activists, policy actors, and intellectuals behind
    concrete goals. This is a global issue and we strongly encourage
    submissions that engage with the international context of the overlap
    between far-right politics and neoliberalism. CPJ is particularly
    interested in papers that address the following themes:


      Historical systems and practices reproducing/spatializing inequality,

      Gentrification, displacement, evictions, exclusion, housing, redlining,

      Labor, precariat, bodies, biopower, reproduction, informality

      Domination, depoliticization, neoliberalism, financialization, austerity

      Social movements, insurgency, collaboration/alliances across
      communities, activists, professionals and academics

      Radical planning, community action research, policy, law, the state

      Anarchist, socialist, feminist and queer planning

      Sanctuary cities, commons, occupy, dissensus, democracy, agonistic

      Race, Black Lives Matters, color-blindness, white supremacy

      Environmental justice, political ecology, natures

    APRIL 30, 2017.*

    CRITICAL PLANNING JOURNAL is a peer-review journal founded and run by
    graduate students at the University of California, Los Angeles, and housed
    within the Department of Urban Planning. Please, consult the guidelines for
    authors <> for more
    detail on how to submit to the journal.
  • Inside | Outside: Trading between Art and Architecture

    Ghent | Dates: 04 – 06 May, 2017
    The conference Inside | Outside: Trading between Art and Architecture is the inaugural event of the ‘Is Architecture Art?’ research project, and will be held at KASK / School of Arts, Louis Pasteurlaan 2, 9000 Ghent, between 4-6 May 2017.

    If you are interested in attending the conference, please click here to register.

    Artist Sarah Oppenheimer (US) and architect John Körmeling (NL) will deliver the keynote presentations. There will also be paper presentations from academics from Europe, the United States and Australia, each focusing on concrete cases of the reciprocal trade between art and architecture. More details and a complete list of speakers is below:


    Since the 1960s, art and architecture have experienced a radical and reciprocal trade: while artists have simulated ‘architectural’ means such as plans and models, built actual structures outside art institutions, or intervened directly into urban and public spaces, architects have evoked ‘artistic’ strategies such as sculptural objects and installations, inside art institutions, in exhibitions, biennales and art events. At the same time, art institutes themselves have combined both activities in an interdisciplinary, hybrid field, playing with the conditional differences between the literal and institutional boundaries of inside and out.

    Expanding one’s practice was not only a matter of repudiating and transgressing the disciplinary limits and medium-related dogmas of modernism, however. It was also a question of choosing and evaluating instruments. After all, when “there’s only art” (Burgin) or when “everything is architecture” (Hollein), the methods and concepts of cultural practice, as well as the status of disciplinary objects, are up for grabs.

    The conference Inside | Outside will focus on specific examples or ‘cases’ of the two-way directions of transaction: artists adopting architectural means on the one hand, and architects adopting artistic strategies on the other. In particular, it will study both historical and contemporary examples of the transposition of means and strategies from architecture to art, and vice versa, up to the point where their status, meaning or function is dislodged and transformed.

    The conference Inside | Outside wants to investigate the potential openings and possible deadlocks of such exchanges, both in terms of the means and strategies they displace and the context in which they happen—that is, inside or outside institutional spaces and venues. In this sense, the interest lies less in how means and strategies mobilize disciplines than the other way around.

    Each speaker is invited to discuss a singular project that exemplifies the reciprocal trade between art and architecture. Papers will address iterations of the current phenomenon of art institutions commissioning architects to produce temporary, largely function-less pavilions and installations; the exhibition of architecture; collaborations between artists and architects; and the use of architecture as a medium or subject by artists.


    Keynote Lecture: 4 May, 2017
    Sarah Oppenheimer, Artist, New York (US)

    Keynote Lecture: 5 May, 2017
    John Körmeling, Architect, Eindhoven (NL)

    Paper presentations 05-06 May 2017
    Angelique Campens (KASK Ghent)
    Guy Châtel (UGent)
    Wouter Davidts (UGent)
    Mark Dorrian (The University of Edinburgh)
    Susan Holden (University of Queensland)
    Maarten Liefooghe (VUB)
    Mark D. Linder (Syracuse University)
    John Macarthur (University of Queensland)
    Philip Metten (KASK Ghent)
    Ashley Paine (University of Queensland)
    Emily E. Scott (ETH Zurich)
    Léa-Catherine Szacka (Oslo School of Architecture and Design)
    Annalise Varghese (University of Queensland)
    Stefaan Vervoort (UGent)
    Stephen Walker (The University of Manchester)
    Rosemary Willink (University of Queensland)
  • PhotoSynthesis: What You Need To Know About Photographs

    Astoria | Dates: 25 – 25 Apr, 2017
    Don’t wait! The deadline is fast approaching to sign up for the ARCS Photo Workshop “PhotoSynthesis: What You Need to Know About Photographs”in Astoria, Queens (a borough of New York City for those unfamiliar). 5 experts will lead a full program covering identification and description of photographs, copyright, framing and mounting, display, storage, installation and packing. You will learn things about photography related care that you didn’t know that you didn't know! The modest registration fee includes lunch and full access to the fabulous venue, the Museum of the Moving Image. Between permanent and temporary exhibitions and exciting interactive experiences, it’s a must-see! Register here by April 18th, 2017. ....and the day will be capped by an ARCS Social at PS1, MoMA’s venue for cutting edge work. Collections specialists and registrars, ARCS members and non-members are all invited whether attending the workshop or not. See more below.
  • Call for Papers: EAHN Thematic Conference "The Tools of the Architect"

    Delft and Rotterdam | Dates: 22 – 24 Nov, 2017
    The European Architectural History Network (EAHN) is pleased to announce the EAHN’s fifth thematic conference The Tools of the Architect, to be held at Delft University of Technology and Het Nieuwe Instituut HNI (Delft and Rotterdam, The Netherlands) on 22 – 24 November 2017.

    Architects have for their activities of drawing, writing and building always depended upon the potential of particular tools –ranging from practical instruments such as straight edges, French curves, compasses, rulers and pencils to conceptual tools such as working drawings, collages, photographic surveys, infographics, diagrams, casts and mass models.

    As technologies advanced the toolbox of architects has changed and expanded. Today architects have an extraordinary array of sophisticated tools at their disposal but also rely on many of same tools as their 18th and 19th century peers. Working drawings, pencils and tracing paper continue to appear in the designer’s studio while their role and potential is being redefined.

    Time and time again, architects have engaged with new tools. The quest to find the most appropriate and adequate tools to articulate, test and communicate design ideas has never ended, and in this pursuit architects have appropriated tools from other disciplines, such as art, historiography, sociology, philosophy, computer sciences and engineering. Out of this perspective the tools of the architect have become a field of intense exploration of the encounter of architecture with other disciplinary perspectives.

    Inventions and innovations of tools throughout history have not only provided better answers to questions of analyzing and representing the built environment, but they have also pointed to new ways of conceiving and intervening. Ellipsographs made it possible to precisely draw an elliptical space in the 19th century and computer-aided drafting software has allowed for a new conception and construction of complex geometries in the 20th and 21st century. New tools have continuously affected the imagination, character and qualities of architectural projects.

    This conference wants to focus on the changing practical and conceptual tools of the architect and their effect on the logos and praxis of architecture. The conference will be structured along three thematic lines:

    1. The Instruments of the Architect (i.e. the apparata and equipment of the architect)
    2. The Tools of Analysis (i.e. the devices to study architecture and the built environment in general)
    3. The Tools of Intervention (i.e. the devices to intervene in the built environment)

    We welcome papers that consider the tools of the architect from this threefold perspective. Papers should be based on well-documented research that is primarily analytical and interpretative rather than descriptive in nature.

    Abstracts (of 500 words) can be registered and uploaded on
    Abstract submission deadline: 15 May 2017

    Time Frame
    15 May 2017: Deadline Submission of abstracts
    15 June 2017: Notification of Acceptance
    1 September 2017: Full papers

    Conference Chairs
    Tom Avermaete, Delft University of Technology
    Merlijn Hurx, Utrecht University

    Organising Committee
    Carola Hein, Delft University of Technology
    Marie-Terese van Thoor, Delft University of Technology
    Koen Ottenheym, Utrecht University
    Petra Brouwer, University of Amsterdam
    Dirk van den Heuvel, Jaap Bakema Study Centre/ Het Nieuwe Instituut

    Keynote speakers
    Mari Lending (professor of architectural theory and history, Oslo School of Architecture and Design/ OCCAS: the Oslo Center for Critical Architectural Studies)

    Michiel Riedijk (professor at Chair of Public Building, Delft University of Technology/ Neutelings Riedijk Architects, Rotterdam)

    Third Keynote speaker, tbc

    Location and Dates
    TU Delft and HNI, Rotterdam, The Netherlands/ 22 – 24 November 2017  

    Scientific Committee
    Tom Avermaete, Delft University of Technology
    Merlijn Hurx, Utrecht University
    Alona Nitzan-Shiftan, Technion – Israel Institute of Technology, Haifa
    Maristella Casciatio, Getty Research Institute, Los Angeles
    Anthony Gerbino, University of Manchester
    Sebastian Fitzner, Freie Universität Berlin
    Wolfgang Lefevre, Max Planck Institute, Berlin

    More info
  • The Prosaic and the Personal: Minor White's Other Portlands

    Portland | Dates: 20 – 20 May, 2017
    The most reproduced of Minor White's photographs of Portland in the late 1930s and early 1940s are of the cast-iron fronted commercial buildings and blocks along Front Avenue and nearby streets. But White moved across the city, from the Willamette to the West Hills, taking photos of Portlanders and their city, public buildings, workplaces, homes, and businesses, with insight and affection. This presentation will center on White's lesser-known photographs and favorite subjects in Portland, with unpublished examples and time for questions and discussion.
  • Temporal Sequences: the Record in Minor White's Portland Photography, 1937-1942

    Portland | Dates: 18 – 18 May, 2017
    Dr. Kenneth Hawkins will present an overview of Minor White's work as "creative photographer" for the Federal Art Project and Oregon Art Project of the U.S. Works Progress Administration. White photographed the cast-iron fronted buildings in the city's former business center as they fell to mass demolition, the city's working riverfront, and houses small and grand. Dr. Hawkins compiled the first inventory of White's original WPA negatives at the Oregon Historical Society in 1978, and in 2016 helped the Minor White Archive, Princeton University Art Museum, describe its holdings of White's Portland works. His presentation will show how White used technique and artistry to create enduring records of Portland's past, and how the series of negatives and prints in these repositories and others comprise sequences that provide insight into his career, architectural loss, and historical memory.
  • The Basics of Wood Window Repair

    Portland | Dates: 13 – 13 May, 2017
    Contrary to the mass marketing that fills our mailboxes, original windows can be refreshed and repaired to meet today’s energy savings goals. At the same time, preserving original windows also preserves historic character and re-uses material that is inherently sustainable. This workshop covers the basics of identifying problems and repairing the wood windows in our older homes. Original wood windows are the “eyes of a building” and contribute tremendous charm and authenticity to our older homes. But after many years of openings and closings, coupled with the impacts of seasonal weather changes, our windows can develop a set of maintenance needs that must be attended to. To address these issues, the AHC welcomes back Patty Spencer, owner of Fresh Air Sash Cord Repair Inc. Patty will share her years of experience in preserving and restoring the function of original, double-hung, wood windows found in homes built in the 1940s and earlier. With a focus on improving function, this workshop will cover the basics that owners of older homes should know, including: signs of window deterioration, preventive maintenance measures, good maintenance and repair practices, plus good ideas about weatherization. Window replacement is not a cost-effective means of saving energy, and is certainly not “green.” If you love your original, double-hung windows, but just wish they worked better - they can! Come learn to do-it-yourself from a local expert.
  • Call for Nominations: 2017 “Best of the South: Preserving Southern Architecture” Award

    Lynchburg | Dates: 30 Mar – 01 Jul, 2017

    2017 “Best of the South: Preserving Southern Architecture” Award

    The Southeast Chapter of the Society of Architectural Historians (SESAH) seeks nominations for the “Best of the South: Preserving Southern Architecture” Award. This annual award honors a project that preserves, rehabilitates, or restores a historic property - including a building, a structure, or a complex of buildings and/or structures - in an outstanding manner and that demonstrates excellence in research, documentation, design, and execution. Projects with a public interpretation component are encouraged, but not required. Projects in the twelve-state SESAH region - Alabama, Arkansas, Florida, Georgia, Kentucky, Louisiana, Mississippi, North Carolina, South Carolina, Tennessee, Texas, and Virginia - that were completed in 2015 or 2016 are eligible. 

    Criteria for consideration:
    • Quality of the project documentation, research, and/or design plan;
    • Importance of the property type within its particular context (national, regional, state, local);
    • Quality of execution;
    • Anticipated benefits; and
    • Degree to which the project saved a historic property from likely demolition.

    Nominations should consist of no more than two pages of project description and be accompanied by illustrations and any other supporting material, including a project budget and timeline. A cover letter should identify the owner of the property, the historic and current use of the property, and the names and contact information of all the major participants of the project. 

    Email the nomination as a single PDF or as a link to a single PDF posted on Google Drive/Dropbox the 2017 “Best of the South” award committee chairperson, Blake Wintory at

    Deadline: July 1, 2017.  

    The 2017 “Best of the South” Award winner will be announced at the 2017 SESAH Annual Meeting held in Lynchburg, Virginia, from October 11-14. 

    For more information about the “Best of the South: Preserving Southern Architecture” Award and SESAH, visit
    Southeast Chapter, Society of Architectural Historians [SESAH]
    Best of the South: Preserving Southern Architecture
    Criteria for Consideration

    A preservation/rehabilitation/restoration project (a building or complex of buildings) that demonstrates excellence or innovation in one or more of the following categories:

    • Architectural history research (documentary or physical)
    • Architectural documentation (investigative details or a record of work performed)
    • Architectural design plan
    • Technique of conservation and/or restoration of fabric
    • Interpretation of the project to the public

    This award is for "historic preservation" of historic architecture.  It is for projects completed in either 2015 or 2016.  Projects with completion dates prior to 2015 or that have not yet been completed will be eliminated from consideration.  

    A "preservation," as opposed to a “rehabilitation” or "restoration," project can mean very different approaches and outcomes; therefore, a project's stated goals and outcome will be judged against projects of like nature.  If a project is an adaptive use, how innovative or successful was the project in preserving the architectural character of the building(s)?  Also, does the project sustain cultural heritage in a way that engages the community to consider and preserve its architectural character?

    Each project will be judged using these factors:
    • Quality of project documentation, research, and/or design plan
    • Importance of property type within its particular context (national, regional, local)
    • Quality of execution
    • Anticipated benefits
    • Degree to which the project saved a historic property from likely demolition.
  • A New Scholarly Society is Doing the Urgent Work of the Past - African American Intellectual History Society

    Dates: 30 Mar, 2017 – 30 Mar, 2018
    A combination of factors — elections, funding scarcity and funder mandates, metrics for “impact” — has helped produce among scholars a burst of enthusiasm for public engagement. But in the last few years it may be that the urge to advocate and teach eclipses them all. Things that seemed obvious and of clear public benefit are newly vulnerable:  science now needs a march on Washington.

    But the very thing that required the March on Washington in 1963 still demands advocacy and teaching. In a compelling turn, and at a moment when older scholarly societies worry about membership declines and formulating new sustainability models, a new scholarly society exemplifies a fresh approach to the history and meaning of race in America. The African American Intellectual History Society began in early 2014 as a group blog, founded by Professor Christopher Cameron of the University of North Carolina, Charlotte. Cameron undertook this work to “provide a space for scholars in disparate fields to discuss the many aspects of teaching and researching black intellectual history.” The blog soon acquired an organization, which begat some familiar scholarly society structure including officers, bylaws, and a program for scholarly communication. AAIHS officers are mostly early career, but also have a depth of experience as scholars and writers. The society held its second annual conference this past weekend at Vanderbilt University.

    Continue reading at The Scholarly Kitchen.
  • PastForward 2017 in Chicago

    Chicago | Dates: 14 – 17 Nov, 2017
    PastForward 2017 • November 14-17 • Chicago

    We want to see you in Chicago this fall for PastForward—the premier educational and networking event for those in the business of saving places! Mark your calendars and sign up to receive updates about registration, speakers, and programming.

    "This was one of the most extraordinary conferences I’ve ever attended, and I’ve been to many. I don't think I've ever been around so many intelligent, forward-thinking, encouraging individuals who took my thinking into areas I never imagined."

    2016 PastForward Attendee, Kay W. Moore, co-coordinator, Travis College Hill Historic District, Garland, TX 

    What to expect: Art, advocacy, and innovation are the hallmarks of preservation in Chicago, where outstanding architecture and diverse neighborhoods have become a proving ground for preservation approaches. At PastForward 2017 we'll focus on "forward," exploring the next generation of preservation tools and techniques.
    Registration will go live July 5—rates and early bird deadline information are already available online.

    Watch videos from PastForward 2016 to revisit programming from last year’s conference, including TrustLive presentations from John Valadez, documentary filmmaker, and Nina Simon, executive director of the Santa Cruz Museum of Art & History.

    See you in Chicago!

    PastForward 2017 is brought to you by the National Trust for Historic Preservation and presented in partnership with Landmarks Illinois.
SAH thanks The Richard H. Driehaus Foundation Fund at The Chicago Community Foundation for its operating support.
Society of Architectural Historians
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