Deadline: Dec 15, 2016
ABE Journal - Architecture Beyond Europe is accepting paper submissions
for Issue 11, 2017: 'Paradoxical Southeast Asia', guest edited by
Caroline Herbelin, maître de conférences, Université Toulouse Le Mirail.
In Southeast Asia, a space characterized by intense regional and global
traffic networks since the sixteenth century, the architectural
landscape is often seen as a palimpsest of styles. The hybrid and
syncretic nature of Southeast Asian architectural forms is seen as the
result of the successive waves of contacts that marked the history of
this part of the world called by some the "Asian Mediterranean." (F.
Gipoloux). In this genealogy of architectural types, the colonial
moment has been often considered a rupture that introduced radically
new forms in vernacular architecture. Following this logic, the late
twentieth century and early twenty-first century are considered as
moments of further intensification of this architectural acculturation.
The adoption of the international style in the megacities of the "Asian
tigers," nerve centers of the global economy, is symbolic of an urban
development superficially tuned to the "global" rather than the local.
By equating the evolution of architectural forms in Southeast Asia to a
transfer, mainly from West to East, this approach evades the complexity
of the formation of the architectural landscape of Southeast Asia. This
issue of ABE proposes to focus on the development of "syncretic"
architectures of Southeast Asia by precisely tracing the circulation of
techniques and architectural forms through a contextual approach.
Local, regional, global have not followed each other sequentially -
such a model presupposes the existence of a local, "original," culture.
Instead, these three levels of traffic have coexisted in the past. Far
from simple sedimentary layers laid down over time, the production of
Southeast Asian architecture has been multiscalar, rhizomic and a
longue durée phenomenon. For this reason, the concept of "returns" is a
particularly useful one for analyzing both "colonial" and "traditional"
motifs that appear in contemporary architecture.
When rethinking the local and the global in Southeast Asian
architecture, we must move beyond the binary oppositions between the
vernacular and the foreign, the colonial and the post-colonial, and the
modern and the traditional, while still exploring how actors used such
categories dynamically. Only in this way can we explain the coexistence
of such seemingly contradictory categories.'
Deadline for submissions: 15 December 2016
Please send submissions to firstname.lastname@example.org
Founded in 2012, ABE Journal - Architecture Beyond Europe is a
scholarly, double blind peer-reviewed journal dedicated to the study of
19th- and 20th-century architecture and urbanism outside of Europe. It
focuses primarily on the transfers, adaptations and appropriations of
forms, technologies, models and doctrines in colonial and postcolonial
situations. Conceived as a place of exchange in an emerging and dynamic
field of research, ABE Journal aims to provide a specialist scholarly
forum for the discussion and dissemination of ideas relating to
architecture in the colonial and postcolonial realms, as well as to
local forms of modernism. It publishes articles and contents in five
languages (French, English, Spanish, German and Italian) and is edited
by the research centre InVisu (CNRS/INHA) in Paris.
CALL FOR PAPERS
The Eleventh International Conference on Design Principles & Practices will be held in partnership with the Institute without Boundaries at George Brown College, Toronto, Canada, 2-4 March 2017. We invite proposals for paper presentations, workshops/interactive sessions, posters/exhibits, virtual lightning talks, virtual posters, or colloquia addressing one of the following themes:
Theme 1: Design Education
Theme 2: Design in Society
Theme 3: Designed Objects
Theme 4: Visual Design
Theme 5: Design Management and Professional Practice
Theme 6: Architectonic, Spatial, and Environmental Design
2017 SPECIAL FOCUS: Design for the Global Village
CONFERENCE SUBMISSION DEADLINE
We welcome the submission of presentation proposals at any time of the year up until 30 days before the start of the conference. All proposals will be reviewed within two to four weeks of submission. The next proposal deadline is 4 August 2016.
A COLLECTION OF JOURNALS
The Design Principles & Practices Journal Collection consists of six journals and an annual review. The collection encourages the widest range of submissions and aims to foster the highest standards of intellectual excellence. Articles may be submitted by in-person and virtual participants as well as Community Members.
Journals in the Design Principles & Practices Journal Collection are indexed by:
- Art Abstracts (EBSCO)
- Art Full Text (EBSCO)
- Art Index (EBSCO)
- Art Source (EBSCO)
- Australian Research Council (ERA)
- Computer Science – Business Information Systems Directory (Cabell’s)
- EBSCO Polytechnic Studies Collection: India
- Genamics Journal Seek
- Ulrich’s Periodicals Directory
CONFERENCE & COMMUNITY PARTNERS
- Cumulus: International Association of Universities and Colleges of Art, Design and Media
- Institute without Boundaries at George Brown College
- European Academy of Design
For more information and to submit a proposal visit: http://designprinciplesandpractices.com/torontoconference-2017
In December of 1939, the Federal Housing Administration declined to insure a mortgage for one of Frank Lloyd Wright’s Usonian houses in East Lansing, Michigan. The house’s low ceilings and open interior spaces were considered too risky an investment. The incompatibility of Wright’s design with the speculative value of the real estate seemingly determined the project’s fate. Impassioned correspondence between architect, client, and bureaucrats; an annotated floor plan; and a local newspaper clipping offer evidence of the resulting tension in this short but telling episode in the history of architecture and real estate.
House Housing excerpts this history in thirty-six episodes, spanning from the early twentieth century to the present. Ordinary artifacts generated by governments, industries, institutions, and individuals tell short stories that show how design, policy, finance, culture, and politics interconnect. As indicated by the project’s title, this multi-media history is untimely in two respects. First, it returns us to matters widely discussed in the aftermath of the 2008 mortgage foreclosure crisis—issues that are now re-emerging but which have not fully taken hold in professional architectural circles. Second, the exhibition’s non-linear chronology reveals surprising repetitions of earlier debates and actions. Tables turn as history repeats, differently each time, and House Housing shows concretely the many ways in which architecture participates in the making and breaking of these cycles.
Between 2013 and 2016, a team at Columbia University’s Temple Hoyne Buell Center for the Study of American Architecture attempted to answer a series of questions: What is the relationship between architecture, real estate, and the imagination? How are designers implicated in the profit-driven development that significantly shapes how we live? How did this happen? To date, the results of this research have appeared as site-specific interventions in Venice, Chicago, Berlin, and Los Angeles; have been discussed in public events and compiled in a website. The televisions, magazines, paperwork, and other largely domestic items collected in the exhibition bear witness to the media through which untimely histories repeat, and their content captures the diversity of ways in which these artifacts form a part of our everyday environment. The tear-sheets describe all thirty-six episodes and list their supporting evidence, pointing toward the additional information available at house-housing.com, including essays, a bibliography, and a provisional report titled The Art of Inequality: Architecture, Housing, and Real Estate. Seen together, these pieces of House Housing are meant to encourage a deepened perspective on the interaction of architecture and real estate development, and to remind us that next time, things could be different.
Reinhold Martin, Director
Jacob Moore, Curator, Assistant Director
Susanne Schindler, Curator, Lead Researcher
Adventures in Preservation (AiP) volunteers are currently working alongside Gyumri Project Hope teams – students and professionals from across Armenia – and are sending back reports of their amazing experience. We are pleased to again offer you the opportunity to join this project run by the Kumayri Museum-Preserve with session dates to fit everyone’s schedule - a series of five one-week sessions beginning May 21, 2017; followed by optional 4-day tour.
May 21-28, 2017
June 18-25, 2017
July 16-23, 2017
August 13-20, 2017
Work in 2017 will focus on two areas – documentation within Kumayri Cultural Museum-Preserve and creation of informational packets on individual buildings for distribution to potential investors. Once new investors become involved, new jobs will follow, addressing Gyumri’s greatest need. The city of Gyumri has one of the highest unemployment rates in Armenia and desperately needs the jobs restoration and heritage tourism will bring.
Read more and register at adventuresinpreservation.org/upcoming-adventures/building-documentation-kumayri-2017/
Bauhaus Residence – Open Call
Living and working in the Meisterhäuser 2017
Apply now – Applications close on 5 September 2016
In the 1920’s the Meisterhaus Ensemble in Dessau became the epitome of an artist com-munity of the twentieth century. This is where Walter Gropius, Oskar Schlemmer, Georg Muche, László Moholy-Nagy, Lyonel Feininger, Wassily Kandinsky and Paul Klee and their families lived next door to each other. Here they were joined by their friends and visitors. Artist collectives, artist couples and artist friendships developed here, with everyone work-ing together in the open structure of the model homes located in a park. However, when the Bauhaus people left in 1933 the area became deserted and the work created as a re-sult of the artistic effort was abandoned.
Since February 2016 and for the first time since 90 years the foundation Stiftung Bauhaus Dessau is enabling young international artists to once again live and work in the Muche/ Schlemmer duplex house – even if the restrictions of the perseveration of cultural heritage attached to the status of a UNESCO World Heritage Site are very strict. With the new for-mat the foundation Stiftung Bauhaus Dessau would like to promote the current focus of attention on the Bauhaus heritage, revitalise the Meisterhaus Ensemble and in this context promote artistic and creative work of international significance which will then at the end of the residency period be displayed in the Gropius House until the Bauhaus anniversary in 2019.
The programme is catering to international artists with an overall interest in all those areas that are historically being represented by Bauhaus and that have developed from it until today:
• Painting, product design, textile design, music, performing arts, architecture, pho-tography
Application (German or English):
• Curriculum vitae
• A concrete project that can be completed during the residential period and which has a relation to Bauhaus (approx. two pages). Preferable is also a reference to the foundation’s topic for 2017 “Substance”
• A motivation
• An artist’s portfolio
Closing date for applications:
5 September 2016
• Email (pdf file, max. 5 MB) to email@example.com
In the autumn of 2016 two artists will be selected for the year 2017. This will be announced on 4 December 2016 on the occasion of the 90th anniversary of the Bauhaus building.
The jury consists of Dr Claudia Perren, director of Stiftung Bauhaus Dessau;
Dr Thomas Köhler, director of the Berlinische Galerie; Katja Aßmann, art director of the Urbane Künste Ruhr; Gabi Schillig, professor for three-dimensional design at the Hochschule Düsseldorf – design faculty of the Peter Behrens School of Arts, and Dr Alexia Pooth, research associate of Stiftung Bauhaus Dessau
The foundation’s performances:
Stiftung Bauhaus Dessau will provide the selected artists with the following for three months:
• Living and work space in the Muche/ Schlemmer House
• A monthly expense allowance of 1,200 euros
• Opportunities for giving presentations and performances and engaging in discus-sions during their stay
• Support in their research work, in organising events along with technical assis-tance and public relations activities
• Public presentations of their work in the Gropius House at the end of their stay where the work will remain until 2019
The artists‘ obligations:
• Purchase of the material required for their work
• Medical and indemnity insurance
• Living expenses, provisions
With the assistance of Stiftung Bauhaus Dessau, the artists are free to apply for addition-al external funding for their stay.
Artists-in-Residence time period:
The three-monthly Artist-in-Residence stays will take place between April and October 2017 in consultation with the foundation. You are expected to be present in Dessau.
Stiftung Bauhaus Dessau
Bauhaus Residenz/ Dr Alexia Pooth
Tel. +49 340 – 6508 467
Topic of the mini-papers
We are seeking mini-papers on flood resilient construction techniques and materials from around the globe. The techniques and materials featured should be from the near or distant past or focus on contemporary, cutting-edge approaches. Papers that address contemporary approaches should describe case studies that directly affect historic resources or could be applied to historic resources (i.e., existing construction).
Papers should be about 500 to 1,000 words and include the following details:
1. Author(s) name, affiliation, and contact information.
2. Describe the case: at a minimum, this should be the type of building/resource that experienced the flooding event, the date of its construction and major modifications, its location, and the building technique/material examined.
3. A summary of the historical or contemporary construction material and/or technique.
4. A brief description of the event that caused the water inundation.
5. The character and degree of the damage caused by inundation.
6. Recovery and/or repair techniques to address and/or prevent damage.
7. A summary of how resilient the construction technique was to inundation.
8. A minimum of three and a maximum of six photos illustrating one or more of the areas, above. The photos must have a minimum resolution of 1900 x 1200 pixels; 2880 x 1800 pixels or more is desirable. (For the initial submission, low resolution images are required; see below.)
9. Provide captions for all photos and reference them in your text. Indicate authorship for each photo. It is the responsibility for the submitting author(s) to obtain publication permission from the owner of each photo.
For instance, a paper on this topic might describe a building, built in 1860, that survived Hurricane Katrina in New Orleans and the overall performance of its lath and plaster system; a description of traditional, lime plaster finishes and their low solubility in water compared to gypsum-based wall board; that the overall damage was minimal once the wall dried; interventions consisted of the mechanical dehumidifying of the building followed by patches and painting; and a summary that describes how well the system performed in a flooding event compared to contemporary construction.
Alternatively, a paper approaching a contemporary construction system/material might describe a building, originally constructed in 1901 in which a contemporary flood vent system was installed in its foundation.
Submissions should consist of a single MS Word, ODF/ODT, or PDF file with the text and the three to six photographs placed in the same file. (Do not submit photographs as separate files.) Reduce the size of the photos to approximately 800 x 600 pixels before placing them in the file in order to make the file size sufficiently small to send via email. If accepted, we will ask for your original text file (if necessary) and full size photos as separate files. Email your single file to firstname.lastname@example.org.
Each year through the Craft Research Fund, The Center for Craft, Creativity & Design distributes $95,000 to support research related to Craft, Architecture, Art History, Design History, Material Culture, Decorative Art History, and related fields.
Graduate Research grant applications are due September 17, 2016.
Project Research and Exhibition Research grant applications are due October 21, 2016.
For more information and a link to the application in SlideRoom visit our website .
Registration is now live for the premier educational and networking event for those in the business of saving places–PastForward, Nov. 15-18 in Houston, Texas! Visit www.PastForwardConference.org for registration, educational and tour descriptions, speakers, and more. Rates increase after August 1st, so register today!
Archeworks seeks emerging leaders, change-makers and critical thinkers to submit proposals to present at Archeworks Agendas 01 - a new platform for sharing ideas and projects that inspire change in Chicago and beyond. We are especially interested in work that challenges convention, approaches dilemmas, and/or defines new tools and methods.
Presentations will be limited to 10-minutes followed by Q+A. The event will culminate with a reception and opportunity to meet others with shared interests. If you would like to present at Archeworks Agendas 01 scheduled for August 18, 2016 from 6-8pm, please submit a short description of your presentation (200 words) and 2-3 supporting images (jpgs) to email@example.com by July 15th. A total of 4-presentations will be accepted and applicants will be notified by July 22nd if their presentation is selected. The lectures will be filmed and made available to the public on archeworks.org after the event.
Please direct all questions to firstname.lastname@example.org.
Lenses On A Landscape Genius brings together leading photographers to explore and celebrate the work of Lancelot ‘Capability’ Brown. This unique exhibition is curated as part of the year-long Capability Brown Festival, which marks 300 years since the eminent landscape architects birth.
Brown’s impact on the British landscape is immense with an estimated 255 sites across the country that he worked or advised on. His influence reaches further still with international parks, gardens and landscapes inspired by his work. Brown’s design principles continue to be demonstrated in contemporary landscape architecture and garden design.
This exhibition from The Landscape Foundation and The Building Centre showcases specially commissioned photographs from eminent landscape and garden photographers.
The exhibition and associated event programme explores Brown’s extensive landscapes and management systems which were created using 18th Century tools. It reveals the mathematics, engineering, science and artistic skill that went into a commission, and find out how the work is as relevant today as it was 300 years ago.
Photographers: Andrew Lawson / Joe Cornish / Andrea Jones / Allan Pollok-Morris / Gary Rogers / Derek St Romaine / Matthew Bruce / Gareth Davies / James Kerr / Archie Miles / Gavin Kingcome / Simon Warner / Jacqui Hurst / Stephen Studd / James Smith / Steffie Shields
This exhibition is part of the 2016 London Festival of Architecture.
CFP: California Design Consortium
Across the Great Divide: A Graduate Student Colloquium
University of California, Berkeley
Saturday – Sunday, 11-12 March 2017
The colloquium is open to all graduate students in accredited masters or doctoral programs in the United States and abroad, whose primary research concerns the architecture, landscape architecture, and design of the western United States.
Up to twelve students will be invited to present twenty-minute papers related to their master’s thesis or dissertation. A senior scholar will respond to each cluster of presentations.
Papers (2,000 words) must be submitted electronically in MsWord format, and should include the full text and representative images. A cover sheet with the student’s name, academic affiliation and level, postal address, telephone number, and email address should precede the paper.
Participating students will receive hotel accommodation for up to three nights and funding toward travel expenses determined on an individual basis.
A reception will follow the colloquium.
Deadline: 1 November 2016
Papers should be sent to: CDCBerkeley@gmail.com
and must be received no later than midnight Pacific Standard Time.
For further information email:
Conveners: Greg Castillo, Waverly Lowell, Andrew Shanken, Marc Treib
The Visual Resources Association Foundation (VRAF) is pleased to invite applications for the fourth VRAF Internship in visual resources and image management. This internship is generously funded by the Samuel H. Kress Foundation.
The VRAF Internship Award provides financial support for graduate students preparing for a career in visual resources and image management. The award grants $4,000 to support a period of internship in archives, libraries, museums, visual resources collections in academic institutions, or other appropriate contexts. A complete description of the internship and application instructions are available at: http://vrafoundation.org.s119319.gridserver.com/index.php/grants/internship_award/.
Applications are due on July 31, 2016.
We are pleased to announce our third annual cross-institutional NYCDH digital humanities graduate student project award. We invite all graduate students attending an institution in New York City and the metropolitan area to apply by Monday, August 15, 2016.
First prize winner will receive a cash prize of $1000. Two runner-up positions will receive $500 each. All three winning proposals will have the opportunity to receive support from one or more of the many centers affiliated with NYCDH. Winners will also receive exposure on our site and through our social media outlets.
Project proposals can be submitted by individuals or teams. In the case a team wins, the prize is to be divided among the team members equally. We are accepting proposals for projects in early or mid stages of development.
All applications should include a clear description of your project, how it falls into realm of the digital humanities, a timeline for the project work, and a transparent, itemized explanation of your funding requirements. For more details, see the Graduate Student DH Project Award page on our website.
We encourage prospective applicants to contact us to talk about your proposal before you submit. To set up an appointment, send us an email at email@example.com.
Proposals will be judged by a committee selected from the NYCDH Steering Committee. The winners will be chosen based on their intellectual contribution, innovative use of technology, and the clarity of their work plan.
To learn more, visit our award information page: http://nycdh.org/nycdh-student-project-award
GOLD, for millennia, has fascinated humanity and possessed an extraordinary value amongst most civilizations. It was the favoured ultimate currency in many cultures and served as the signal form of capital: both its accumulation and its waste. It was the catalyst of wars, and constituted its spoils. Gold is the adjective to describe mythical lands: for Marco Polo, Japan was 'Zipangu, the Land of Gold'. There have been venerated building types celebrating religious and cultural beliefs like 'golden' temples and 'golden' houses like Nero's Domus Aurea. There have been buildings to protect gold, buildings which openly display it. In art and architectural historiography, there have been 'golden' periods and 'golden ages'. Gold is about luxury, glamour and excess. It also has as its direct opposite objects of no value, things that might be described as worthless.
The 33rd Annual SAHANZ Conference to be held in Melbourne in July 2016 is to be devoted to the exploration of architecture and gold. The public announcement in 1851 that gold had been discovered in the newly created state of Victoria changed the course of Australian history. Melbourne, the state's capital, grew to be one of the world's great provincial metropolises and gold was its motor. In 1854, the Victorian Gold Discovery Committee observed that "The discovery of the Victorian Goldfields has converted a remote dependency into a country of world wide fame; it has attracted a population, extraordinary in number, with unprecedented rapidity; it has enhanced the value of property to an enormous extent; it has made this the richest country in the world; and, in less than three years, it has done for this colony the work of an age, and made its impulses felt in the most distant regions of the earth." Melbourne is thus the ideal conference venue for critically examining gold and the history of the built environment.
MORE: Expanding architecture from a gender-based perspective. III International Conference on Gender and Architecture intends to continue creating a space for meeting and debate about the issues that relate architecture and gender studies opened in 2014 during the I International Congress of Architecture and Gender “ARQUITECTAS. Redefining the Profession” (ETSA Sevilla, Spain) and resumed in 2015 by “Matrices. II International Congress of Architecture and Gender” (Universidade Lusófona, Lisbon, Portugal).
The Third International Conference on Research in Architecture and Gender will focus on the theme of expanding architecture from a gender-based perspective and incorporating feminist strategies. It will promote, address and disseminate high-quality research, drawing connections among specialist areas of both theory and practice, thus revealing trans-disciplinary aspects and activating hybridizing processes that can no longer be eluded.
(Architectural) Space is not neutral: it is a social production and the result of a collective action. For this very reason, in order to face the new challenges induced by the current crisis (which has disclosed and highlighted the unstable and precarious dimension of our vital needs and environments), the behavioural changes resulting from the use of new technologies and the changing exigencies of the labour market, architects and, consequently, educators are required to take into account the dimension of time (beyond space) and become crosscutting agents of spatial and social changes.
There are different ways of understanding the social dimension of architecture: it is a field replete with tensions and contradictions, uncertainties, possibilities and discussions about whether or not the social and political commitment of architecture is something structural of its agenda. Architecture operates at the intersections of various elements depending on contingencies, on contexts at a particular place and time. It deals with wide sets of (power, production) relations and has to face entanglements of (cultural, political, economic) factors (systems of representation, objects, forms, meanings). For these reasons, professional identity and socio-political responsibility cannot be considered as separated entities. Both production and use belong to the same process: the traditional client-architect relationship should necessarily be questioned and redefined, since architecture involves something more than the way in which our environment has been built, including the way in which it is experienced, used, maintained.
Falling outside of the parameters of mainstream discourse - and prioritizing place-making rather than form-making - a large group of women architects and educators have turned gender and social justice into the main features of a feminist agenda in architecture that includes a commitment to participatory principles and an inextricably intertwined link between theory and practice, design and (performative) actions. An independent understanding of reality from a gender-based perspective is needed to develop new crosscutting views on urgent social and political issues (social, political, ecological, management -and use- based issues, focusing on hybrid production models that take into accounts care, affection, enjoyment), taking action, blurring the traditional disciplinary role and mastery of the architect, focusing on the social production of space. The most challenging issue is to activate spatial potential rather than providing design solutions, thus making (urban and architectural) spaces a continuous collective and engaging project open to changes and transformations.
We believe that the exchanging of ideas and experiences, carried out by sharing and collectivizing current (design or practice-based and artistic) research and explorations on critical, experimental, feminist, hybridizing approaches to architecture might provide and promote new epistemologies, methodologies and pedagogies in architectural discourse and practice. It’s possible to detect in the way feminist practices dismiss the traditional role of the architect as the sole and undisputed producer / demiurge – pursued by working as curators, advisers, space activators, and other producers – a sort of drift towards an expanded dimension of architecture and architectural education which calls into question what architecture itself is. Architecture can hybridize with peripheral knowledge and experiences that have not been taken into account by traditional architectural debates. Focusing on an architectural practice that comes from counter-hegemonic positions and places of social exclusion can meet unattended challenges.
Dismantling the paradigm of the building as the conditio sine qua non of architectural production, testing and questioning some of the most consolidated and accepted categories of architectural practice (such as the role of the author, the concept of disciplinary boundaries, the gap between builders and theorists), many women architects have subverted the relationship between theory and practice, pointing out that writing, drawing, and model-making (whether validated by building or not) are all specific forms of architectural thought and practice.
We invite educators, researchers, scholars, professionals, graduate and doctoral students, in the fields of architecture, urban design, art, history of architecture and related areas, such as psychology, anthropology, sociology, geography, new technologies and law to present the result of their investigations and/or their ideas, suggestions, insights on the above mentioned gender sensitive/feminist strategies in architecture and architectural education by responding to the following thematic areas.
Scientifically rigorous products of various formats (such as papers, interactive sessions and seminars, theatre plays, videos, photographs, performances, sound installations, artworks, etc.) will be accepted and welcome.
We also propose to organise additional workshops to create an open space in which promoting both individual and collective awareness on intersectional (gender, sexuality, ethnicity, class, age, ability) concerns, encouraging and fuelling the debate even through more performative approaches.
Calling it “my little gem,” Frank Lloyd Wright often encouraged clients to visit the house he built in 1952 for Kenneth and Phyllis Laurent in Rockford, Illinois. Follow Wright’s advice and experience this fully restored residence, the only home Wright designed to be handicapped accessible.
Noted for their open floor plans on a single level, Wright’s compact Usonian designs attracted the Laurents. The couple wanted a house suitable for Kenneth, who used a wheelchair due to paralysis after spinal surgery. The Laurents lived in the house for the next 60 years.
After lunch, the excursion will stop at the William Pettit Chapel in nearby Belvidere. This 1906 building has all the elements of Wright’s classic Prairie style, including a central fireplace, continuous bands of windows and wood trim throughout.
The School of Architecture at The University of Texas at Austin will host the 2nd International Symposium on Ecological Wisdom, November 17- 20, 2016.
A collaboration between UT Austin, Tongji University (Shanghai), East China Normal University, (Shanghai), and the International Society for Ecological Wisdom, the conference brings together over forty presenters—the best and brightest minds in the field of ecological wisdom. Fritz Steiner, dean emeritus of UT Austin’s School of Architecture, now dean of PennDesign, will provide the keynote address. The three-day event includes speakers from around the globe, and concludes with a field trip to a still-operating irrigation complex from the early 1700s, as well as a retooled section of the irrigation system that became the "Riverwalk" in downtown San Antonio, Texas.
An interdisciplinary field of study, ecology wisdom caters to engineers, architects and landscape architects, planners, historic preservationists, and designers, among other practitioners. The November symposium is targeted to academics and professionals in those fields, and to laypersons with an interest in ecological wisdom. The theme of this year’s conference is Ecological Wisdom Inspired Urban Resilience: Building Strategies, Tenets, and Practice. Speakers will present on topics ranging from Relationships Between Ecological Wisdom and Contemporary Science and Technology to Social Learning and Ecological Wisdom. A selection of the papers presented at the symposium will be included in a forthcoming book, EcoWISE, published by Springer-Nature.
"Ecological Wisdom is an important new approach to planning, engineering, architecture, and design, and is bringing together scholars and practitioners from across disciplines," remarked Robert Young, Assistant Professor at the University of Texas at Austin. “Together, these professionals are drawing upon historical precedents and contemporary science to present some of the most remarkable innovations in creating regenerative cities and regions. The symposium will provide an in-depth examination of ecological wisdom, and catalyze discussion about future possibilities for this exciting new field.”
Ecological wisdom provides an effective framework for achieving urban resilience and sustainability. It incorporates practical and theoretical social and ecological knowledge with site-specific history to develop strategies and action plans that support ethical and sustainable practices. A greater understanding of ecological wisdom enhances designers’ abilities to make responsible, ecologically-sound decisions for a city or community’s long-term benefit.
Inquiries about the symposium may be directed to Dr. Robert Young, University of Texas at Austin, at firstname.lastname@example.org.
This exciting new exhibit explores the construction and design of windows throughout history with an emphasis on local companies, artisans, and products.
Industry and Artistry focuses on the years 1880 to 1930 when art glass and millwork manufacturing were at their heights in Portland and the United States. Many of the windows on display, including some beautiful stained glass, were salvaged by our founders, Jerry Bosco and Ben Milligan from buildings demolished in the 1960s and 1970s.
The exhibit tells the story of glassmaking, from ancient history to the 20th century, and how glass came to be used in windows like those we see and use every day. You’ll also learn about the dearth of local window glassmakers in Portland, even at a time when there were many Portland area wood window sash companies. By the mid-nineteenth century, wood sash windows were common in American architecture. They were mass produced and not only could a builder or homeowner acquire them at a local millwork company, they could purchase windows through mail order catalogs.
The exhibit will also explore the use of art glass in windows, particularly stained glass. Included in this story is the famous Povey Brothers Glass Company, which for a time dominated the art glass industry in Portland, producing amazing windows. We’ll also include a nod to our founders who operated a stained glass company of their own in the 1970s – early 1980s.
Sponsored by the Oregon Heritage Commission
Additional Support by Merrill Lynch, David Schlicker Stained Glass Studio, Inc., & Jackie Peterson-Loomis
Conference Announcement and Call for Papers
digital cultural heritage: FUTURE VISIONS
19-21 April 2017 in Brisbane, Australia
Conference convenors Dr Kelly Greenop and Dr Chris Landorf
Innovative new data collection and digital visualisations captures historic artefacts, places and practices faster, in greater detail and shared amongst a wider community than ever before. Creative virtual environments that provide interactive interpretations of place, archives enriched with digital film and audio recordings, histories augmented by crowdsourced data all have the potential to engage new audiences, engender alternative meanings and enhance current management practice. At a less tangible level, new technologies can contribute to debates about societal relationships with the historical past, contemporary present and possible futures, as well as drive questions about authenticity, integrity, authorship and the democratisation of heritage.
Yet for many, a gap still exists between these evolving technologies and their application in everyday heritage practice. This conference will focus on the emerging disciplines of digital cultural heritage and the established practice of heritage management, providing a platform for critical debate between those developing and applying innovative digital technology, and those seeking to integrated best practice into the preservation, presentation and sustainable management of cultural heritage.
Call for papers
This conference is designed to encourage critical debate across a wide range of heritage-related disciplines. We welcome papers from cultural heritage and tourism practitioners and academics, as well as architecture, anthropology, archaeology, geography, media studies, museum studies and other cultural heritage-related fields. We particularly encourage papers that explore the technical challenges of digitising tangible and intangible cultural heritage, those that identify issues with digitisation and digital interaction, and those that address the philosophical or theoretical challenges posed by digital cultural heritage.
Abstracts of no more than 300 words should be submitted via the online form by 25th July 2016.
Authors of accepted abstracts will be invited to submit full papers (5000 words max.) for publication in the peer reviewed conference proceedings. Accepted papers will be published after the conference.
If you have any difficulties accessing the online submission form or any other queries, please contact Brit Winnen at<email@example.com> firstname.lastname@example.org<mailto:email@example.com>
Abstracts due: 25th July 2016
Notification of abstract acceptance: 12th September 2016
Full papers due: 12th December 2016
Notification of full paper acceptance: 13th March 2017
Early bird registration closes: 20th March 2017
Registration closes: 3rd April
Conference: 19th-21st April 2017
Final papers due: 22 May 2017
The Centro Internazionale di Studi di Architettura Andrea Palladio (CISA, I-Vicenza) will organize an international conference on the theme of "The Architect as Active Reader", 15-17 June 2017.
Printed treatises and texts have been the main vehicle for the communication of architectural ideas. Architects and builders, as owners of these texts, have left records of their thoughts in the form of subsequent annotations, comments, and drawings within the texts or closely connected to them. In developing the notion of the architect as an “active reader” who absorbs new information for future practical application, the conference seeks to bring out examples of architects in dialogue with texts.
Geographic area and time period are open. Scholars may apply individually or propose a theme to be carried through in a single session by a group or team. (Such a theme might address a single architect’s varied reading practices; multiple approaches to a single work; the collecting practices revealed in an architect’s library). Contributions from scholars and librarians are welcome.
Those interested in participating with a contribution (20 minute limit) should send an outline (no more than 250 words) and brief CV (no more than 100 words) to firstname.lastname@example.org by 15 September 2016. Speakers will be notified by 31 October 2016.