Recent Opportunities

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  • Graham Foundation 2018 Grants to Individuals

    Dates: 31 Aug – 15 Sep, 2017
    Since 1956, the Graham Foundation has provided direct funding to individuals for projects that foster the development and exchange of diverse and challenging ideas about architecture and its role in the arts, culture, and society. 
     
    As one of the few funders of individuals in the field of architecture, the foundation's grants provide important support for the work of emerging and established architects, scholars, writers, artists, designers, curators, filmmakers, and other individuals.
     
    To apply for an individual grant, applicants must submit an Inquiry Form—the first of a two-stage application process. The online Inquiry Form is currently available on our website.  
     
    Inquiry Form deadline: September 15, 2017
    Invitation to advance to the second stage: after December 15, 2017
    Grant decision notification: April 2018
    Earliest start-date for a funded project: June 1, 2018
     
    For more information about the Graham's grants and to learn if your project is eligible for funding, please see our grant guidelines. You may also see funded grantee projects here.

  • Architecture of the other 99%? – Power, Economy, and the Dilemma of History

    Denver | Dates: 31 Aug – 20 Sep, 2017
    Session at the 106th ACSA Annual Meeting "The Ethical Imperative", Denver, CO, March 15 - 17 2018

    Submission of full papers: http://www.acsa-arch.org/programs-events/conferences/annual-meeting/106th-annual-meeting/call-for-papers

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    »Architects have always served the interests of the ruling classes.« – »Architecture is the most public of all the arts, a manifestation of the collective.«

    The history of architecture speaks volumes about this dialectic: on the one hand architecture is a practice that is driven by the need for access to vast amounts of capital, labor, material and other resources, and hence, has always been in close relationship to the dominant social powers and their interests for representation and cultural hegemony. On the other hand, the relationship between architects and power varies between servitude and emancipation, between cynical realism and ideals of public stewardship, critique or even counter-culture. This dialectic is especially urgent for a growing human population of the 21st century faced with the legacy of modernity, which had once promised participation for all with regards to power, economy, culture, and the city.

    Nevertheless, the discourse of architecture tends to side with the elite: no matter if one opens books for teaching architectural history, looks at professional awards, architectural exhibitions, trade magazines, and the public media coverage, or if one analyzes the precedent studies in design studios and offices. Architects, educators and students refer mostly to the canonic pieces of the past or to the exclusive and extravagant projects of a globalized media economy of today. And if in the 1960s and 70s Tafuri imagined a critical role of history and theory distinguished from a necessarily collaborative practice, even this section of academia offers little resistance today: despite the curricular changes over the last decades that questioned “the canon” and introduced a global perspective, the main narratives continue to focus on the palaces of the kings (rarely queens), the churches and temples, the representative structures of the state and of large corporations, or the villae of the most affluent.

    By translocating the provocative motto of the occupy movement into the field of architecture, this session asks for reflections about the charged relationship between architecture, power, and economy. What are the strategies and tactics to evade the repetition of the socio-economic status quo? How can architecture become empowering and liberating for diverse constituencies, especially the ones so far deprived of design services? What is the role of architectural history, which seems more often than not to narrate a “winners’ story”? What about histories of alternative practices and critical modes of spatial agency?

    This session welcomes presentations that address the difficult relationship between architecture and power theoretically (problems of historiography) and empirically (case studies of alternative spatial practices) in order to scrutinize the hegemonic economic regimes at work. Both approaches shall contribute to the question of how to imagine, design and reflect upon an architecture of the other 99%.
  • 2017 Modernism in America Awards Ceremony

    New York | Dates: 06 – 06 Oct, 2017
    Docomomo US is pleased to announce nine winners of the 2017 Modernism in America Awards program. These exemplary projects represent the highest level of preservation efforts and the growing trend to not only preserve but to document and share those findings with the public.

    The Modernism in America Awards program seeks to acknowledge the substantial economic and cultural impact such projects had and continue to have on our local communities and to set a standard for how preserving modern architecture can be accomplished. Through the awards program, Docomomo US seeks to bring attention to the many successful local, regional and national projects and thereby elevate an appreciation for the value of modern architecture to our cultural and architectural history.

    You are cordially invited to:

    Celebrate the best of modernsim 

    Honoring Bell Works, Yale Center for British Art, Bubeshko Apartments, Heroic, Save the Reactor and more.

    Friday October 6, 2017

    6:30 PM
    Cocktail Reception 6:30–7:30 PM 
    Award Presentation 7:30–8:30 PM

    Design Within Reach Studio

    957 Third Avenue (at E 57th St)
    New York City

  • Call for Articles: Corporate Modernism

    Dates: 31 Aug – 06 Sep, 2017
    Docomomo US accepts article submissions on a wide range of issues concerning modernism. Full submissions are required 15 days prior to publication. Additional details including submission guidelines are available upon request.

    Upcoming Theme
    Corporate Modernism | September  21

    Those interested in submitting an article should send a brief description including images, drawings, etc to info(AT)docomomo-us.org.
  • CASVA A. W. Mellon Postdoctoral Fellowship Program, 2018-2020

    Washington | Dates: 31 Aug – 15 Oct, 2017

    During the first year, in addition to research and writing for publication, the A. W. Mellon Postdoctoral Fellow will design and direct an intensive week-long seminar for the predoctoral fellows at the Center, focusing on a topic related to the applicant's field of interest and with a special emphasis on methodological issues. In the second academic year, while continuing research and writing in residence, the Mellon Postdoctoral Fellow will be expected to teach one course (advanced undergraduate or graduate) by arrangement at a neighboring university, and direct a week-long seminar for the predoctoral fellows. One award will be made.

    Applications will be considered for research in the history, theory, and criticism of the visual arts of any time period or culture. For appointment to the A. W. Mellon Postdoctoral Fellowship in 2018-2020, the Center encourages applications in the fields of the visual arts and culture of African Americans, Africa, and the African daspora. Applicants for 2018-2020 must have received the PhD degree between October 1, 2012, and October 1, 2017. Applications must be submitted by October 15, 2017.

    Senior, visiting senior, and postdoctoral fellowships are awarded without regard to the age or nationality of applicants. Applications are reviewed by an external selection committee coposed of scholars in the history of art and related disciplines. Outside readers may assist in the evaluation of proposals.

  • CASVA Senior and Visiting Senior Fellowship Program, 2018-2019

    Washington | Dates: 31 Aug – 21 Sep, 2017

    Applications will be considered for research in the history, theory, and criticism of the visual arts of any geographical area and of any period. Senior and visiting senior fellowships are intended for those who have held the PhD for five years or more at the time of application or who possess an equivalent record of professional accomplishment. One Paul Mellon Senior Fellowship and four to six Ailsa Mellon Bruce, Samuel H. Kress, and William C. Seitz Senior Fellowships will be awarded for the academic year, early fall to spring. The Center awards up to twelve short-term (up to 60 days) Paul Mellon and Ailsa Mellon Bruce Visiting Senior Fellowships annually.

    Fellows will be provided with housing in apartments near the Gallery, subject to availability. Senior fellowship award period: academic year 2018-2019 (applications submitted by October 15, 2017). Visiting senior fellowship award periods: March 1 - August 15, 2018 (applications submitted by September 21, 2017) and September 1, 2018 - February 28, 2019 (applications submitted by March 21, 2018).

  • Drawing in the Post-Digital Era: From Exactitude to Extravagance

    Denver | Dates: 25 Aug – 20 Sep, 2017
    Drawing has occupied the central stage of architectural thinking and making since the time of Renaissance. Mediating between the abstract and the physical, drawing has proved both essential and instrumental in many stages of an architectural project. In the past few decades the proliferation of digital media has destabilized the known means of drawing by pushing it towards new frontiers. Novel tools and techniques have made some of the conventional modes of operation more efficient, while equally subverting others in favor of new patterns of thought and action. Drawing’s metamorphosis presents a paradox: on the one hand it continues a tradition that has lasted over 500 years, and on the other hand it challenges the tenets of that tradition by the implementation of methods that, at times, are at odds with roles assigned to drawing.

    This proposal is preoccupied with drawing’s transformations in the post-digital era. Historically, drawing has acted as an intermediary between thought and action by creating a space of its own within which the architect’s creativity unfolded. That unique space, which has been the domain of imagination, allowed architects to think of different modes of expression (i.e. different forms of drawings) suited to the many phases of a project’s development. Since the inception of the digital, that very space has become infinitely small and extremely large at once. While precision, accuracy and optimization push for an exactitude that equates drawing to blueprints of realizable artifacts and narrows the space of creativity; accident, deviation and excess distance drawing from reality and push it towards extravagant abstraction, removing it from the material and tangible world. The proposal is preoccupied with this paradoxical condition that is embedded in drawings of the post-digital era and calls for reflection and critical assessment of the status quo.

    Since the digital has become an integral part of architecture, the following questions are to be asked: What are the potentials of drawing in the post- digital era? Understanding that the technological facet of digital drawing is one of its inseparable attributes, how do we, as historians, theoreticians, practitioners and educators come to terms with using these tools and techniques in order to engage with drawing as a creative process? How can we maintain the potency of drawing, and preserve its ethical imperatives, without succumbing to the role of consumers of technological procedures and methods? This theme proposal invites opinions from either side of the spectrum. It is equally interested in curricular and practical experiments, in processes and products that explore contemporary methods of drawing and their effects on the teaching and practice of architecture.

    Information on the conference (15-17 March in Denver, Colorado), submission requirements, and the online submission process can be found on the conference webpage http://www.acsa-arch.org/programs-events/conferences/annual-meeting/106th-annual-meeting/call-for-papers. Please email the session chair Pari Riahi (priahi@umass.edu) in case of further questions.
  • Making History - Frank Lloyd Wright at the Global Crossroads: Chicago/Tokyo/NYC/LA

    Chicago | Dates: 16 – 16 Nov, 2017
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    Ken Tadashi Oshima
    , president of the Society of Architectural Historians and Professor of Architecture at the University of Washington, discusses with Chicago Architecture Biennial Artistic Directors Sharon Johnston and Mark Lee the global design practice of Frank Lloyd Wright in "making history" in the contemporary context. Building on new findings from the 2017 Museum of Modern Art exhibition Frank Lloyd Wright at 150: Unpacking the Archive, the discussion with Johnston and Lee will focus on precedents and parallels with the 2017 Chicago Architecture Biennial.

    Thursday, November 16, 2017
    6:00 - 7:30 pm
    Chicago Cultural Center
    78 E Washington St
    Chicago, IL 60602
    RSVP HERE


    Society of Architectural Historians is a partner with the 2017 Chicago Architecture Biennial.

    Imperial Hotel, Tokyo. 1913–23. Cross section looking east. Ink, pencil, and colored pencil on drafting cloth, 15 x 40 in. (38.1 x 101.6 cm). The Frank Lloyd Wright Foundation Archives (The Museum of Modern Art | Avery Architectural & Fine Arts Library, Columbia University, New York). © 2017 Frank Lloyd Wright Foundation, Scottsdale, AZ. All rights reserved.


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  • Spaces / Times / Peoples: Nature and Architectural History

    Ankara | Dates: 31 Aug – 23 Oct, 2017
    Middle East Technical University Graduate Program in Architectural History organizes a series of symposia bi-annually, open to graduate students and researchers who have recently completed their Ph.D. studies. The tenth meeting of the symposium series will take place on December 21-22, 2017 and focus on the theme of "Spaces / Times / Peoples: Nature and Architectural History".

    METU Architectural History Graduate Symposium 10 aims to discuss the spatial and cultural intersections of natural formations such as mountains, valleys, plains, rivers and sea extending from countrysides to coasts of cities with architectural entities such as transportation hubs, customs, infrastructural elements, and other related buildings types. Manifold and various interactions between nature and architecture can be studied in order to broaden the understanding of urban, architectural, and environmental history. The symposium calls for papers that explore not only how natural disasters and environmental problems like epidemics, fires, and earthquakes have shaped the spatial and historical formation of cities but also how architectural production has been integrated with and affected natural resources throughout history.

    Eligibility: The symposium is open to graduate students and young researchers who have received their doctoral degrees since 2012.
    Language: Turkish and English
    Proposal Submission: The requested information below should be sent to the Organizing Committee via the given e-mail address.
    Abstract Sheet: Title of the paper, abstract (300 words) and five keywords. No information about the identity of the participant on the abstract sheet.
    Information Sheet: The title of the paper, participant’s name, short biography, address, e-mail, phone and fax numbers.
    Submission Deadline: October 23, 2017
    Conference Fee: 150 TL 

    Scientific Committee:
    Elvan Altan, Suna Güven, Lale Özgenel, Ali Uzay Peker, 
    Pelin Yoncacı Arslan

    Organization Committee:
    Saliha Aslan, Aylin Atacan, Elif Bilge, Şehri Kartal,
    Pınar Kutluay, Hüma Tülce, Elif Yurdaçalış
  • CFP: Military Landscapes (Garden and Landscape Studies Symposium)

    Washington | Dates: 24 Aug – 30 Sep, 2017

    Among various human interventions in landscape, war has left one of the most lasting and eloquent records, literally inscribed in the face of the earth. Military landscapes can assume different forms and functions: vertical, as the Great Wall of China, or horizontal, as the Federal Interstate Highway System; overground and geometrically controlled, as the earthworks of the Renaissance trace italienne, or sunken and disguised by local topography, as the trenches of World War I. They could be high-security sites, as the Pentagon, or tourist attractions, as Himeji Castle in Japan; curated, as the Gettysburg Battlefield, or neglected, as the outskirts of the Savannah River nuclear reservation site. All these landscapes, however, remain vivid testimonies to the main reason for their existence: the reality of war as one of the oldest of human endeavors.   

     Indeed, remnants of defensive structures or fields of physical combat are among many types of landscape that the culture of war generates. Military landscapes can include former markers of status, such as the strongholds of sixteenth-century Japanese warlords, or vestiges of colonial expansion, as the fortified trading outposts built by the Dutch on the coasts of the Indian Ocean. They could be even combined symbols of imperial oppression and national resistance, as in the case of the fortress of San Juan de Ulúa in Mexico. Although fortified, they could have an afterlife as sacred grounds, as the Acropolis in Athens. They could be reflections of utopian architectural visions, as in the case of the star-shaped sixteenth-century Italian city of Palmanova, or diplomatic pragmatism, as in the creation of present-day demilitarized zones. In their most familiar form, they are national memorials as sites of remembrance and commemoration: monumental embodiments of group identities and systems of value and, in this way, cultural pilgrimage destinations and settings of political rituals. As places where historical memory inevitably becomes translated into myth, military landscapes are also deeply contested sites. Witnesses or reminders of victories and defeats, achievements and losses, heroism and suffering, they continue to have powerful emotional, political, and cultural resonance across different generations.           

     At the same time, military landscapes remain important focuses of government interests and large-scale budgetary investments, past and present. Products of theoretical thinking and strategic planning, they typically represent advanced engineering and technological solutions. Reduced to paper or GIS datasheets, they are also outcomes of a unique expertise in managing such tasks as dislocation, movement, and provision of troops; performing ballistic and structural calculations; and assessing opportunities for attach and ambush, defense and camouflage, which gave military professionals a unique knowledge and understanding of the natural terrain. In this way, they are repositories of information recorded, safeguarded, and communicated through topographic descriptions, maps, drawings, photography, and film footage, producing a wealth of visual material that charts a complex and changing cultural interpretation of landscape and the flora and fauna that inhabit it. 

    The Garden and Landscape Studies program at Dumbarton Oaks is planning a symposium, to be held on May 4–5, 2018, which aims to reevaluate the role of war as a fundamental form of human interaction with land and a decisive factor in the ongoing transformation of the natural environment. As the nature of modern conflict expands to encompass entire geopolitical regions, military landscapes cannot be treated purely as markers of history. They belong to the present as much as they do to the past, calling for a critical assessment of their environmental impact, new approaches to their historic preservation or adaptive reuse, and a scholarly reappraisal of their form, meaning, and interpretation. What are the challenges and theoretical implications of understanding military infrastructure as landscape from the disciplinary perspectives of cultural geography, architectural history, and environmental studies? And what is the role of the practice of landscape architecture in shaping, curating, and giving meaning to such landscapes? Please send a 200-word abstract and a short two-page CV, by September 30, 2017, to Anatole Tchikine (tchikinea@doaks.org) and John Davis (jdavis@fas.harvard.edu). Proposals from historians, ecologists, geographers, and designers that emphasize cross-disciplinary perspectives are particularly welcome.

  • Association for Art History 2018 Annual Conference

    London | Dates: 05 – 07 Apr, 2018

    2018 Annual Conference
    Courtauld Institute of Art & King’s College London
    5 – 7 April 2018, London

    About
    The 2018 Annual Conference for art history and visual culture will be co-hosted by the Courtauld Institute of Art and King’s College London. Academic sessions that papers will respond to the idea of ‘looking outwards’. This international 3 day event will look at art history in the broadest sense, and will incorporate a diverse range of speakers and perspectives.

    Call for Papers
    The 2018 Annual Conference for art history and visual culture will be co-hosted by the Courtauld Institute of Art and King’s College London. This international 3 day event will look at art history in the broadest sense, and will incorporate a diverse range of academic sessions, speakers and perspectives.

    The close collaboration between the two institutions – involving numerous other museums and cultural partners in London – will set the tone for a conference oriented around ‘looking outwards’.

    On one hand, we will be encouraging art historians and researchers to think about their disciplinary relationships with other affiliated subjects in the arts and humanities (as indeed beyond). On the other, we will be inviting new perspectives on international collaborations within the field (particularly important in the wake of recent political events…).

    We aim to incorporate an ambitious range of perspectives – from university academics and doctoral researchers, to educators, curators, heritage partners, and not least artists themselves. We hope to deliver an event with the widest possible remit and reach.

    Academic Sessions
    The 2018 Annual Conference will host 40 academic sessions, over 3 days (approx. 13/14 sessions each day). Each one-day session will generally consist of between 4 – 8 papers (minimum 4, maximum 8); papers are usually 25-minutes, presented in 35-minute slots to allow for questions and movement between sessions. We will also accommodate alternative session formats – such as world-cafe, round-table or open discussions.

    Sessions will respond to the idea of ‘looking outwards’ by engaging with art history and visual culture in the broadest sense. You can view and download the 2018 academic sessions and abstracts(pdf).

    Conference Convenors
    Joanna Woodall and Katie Scott, Courtauld Institute of Art
    Michael Squire, King’s College London

    Conference Coordinator
    Cheryl Platt, Association for Art History

  • CFP: Association for Art History 2018 Annual Conference (London, 5-7 Apr 2018)

    London | Dates: 24 Aug – 06 Nov, 2017

    The 2018 Annual Conference for art history and visual culture will be co-hosted by the Courtauld Institute of Art and King’s College London. This international 3 day event will look at art history in the broadest sense, and will incorporate a diverse range of academic sessions, speakers and perspectives.

    The close collaboration between the two institutions – involving numerous other museums and cultural partners in London – will set the tone for a conference oriented around ‘looking outwards’.

    On one hand, we will be encouraging art historians and researchers to think about their disciplinary relationships with other affiliated subjects in the arts and humanities (as indeed beyond). On the other, we will be inviting new perspectives on international collaborations within the field (particularly important in the wake of recent political events…).

    We aim to incorporate an ambitious range of perspectives – from university academics and doctoral researchers, to educators, curators, heritage partners, and not least artists themselves. We hope to deliver an event with the widest possible remit and reach.

  • Living in America: Frank Lloyd Wright, Harlem & Modern Housing

    New York | Dates: 09 Sep – 17 Dec, 2017
    “Living in America,” a phrase written on wooden panels traveling with the model of Frank Lloyd Wright’s Broadacre City (1929–58), evokes a question that preoccupied architects and planners throughout the mid-twentieth century: How to live together? Wright’s proposal for an exurban settlement of single-family houses offered one possible answer; plans for large public or subsidized housing located in urban areas presented another. Although these two visions seem a world apart, they share a common history.

    Wright (1867–1959) first exhibited his Broadacre City project at Rockefeller Center in Midtown Manhattan in 1935. While the prominent Wisconsin-based architect anticipated a degree of economic diversity, Broadacre’s residents were, for the most part, implicitly white. In 1936 construction began on one of New York City’s first public housing developments, the Harlem River Houses, funded by the Public Works Administration under President Franklin D. Roosevelt’s New Deal. Built for working-class African Americans, the complex was designed by a consortium including John Louis Wilson Jr., the first African American to graduate from Columbia University’s School of Architecture. Through such parallel examples, this exhibition shows how two different approaches to housing combine societal aspiration with racial segregation and socioeconomic inequality, and asks: How to live in America, together?

    The exhibition’s narrative takes the form of two interwoven plotlines, developed through displays of project-specific drawings, photographs, and other material dating from the late 1920s to the late 1950s. One plotline tracks the Broadacre scheme as it plays out in Wright’s subsequent work, scattered around the country; the other tracks the development of public housing in Upper Manhattan’s Harlem neighborhood, ending just outside the gallery, adjacent to Columbia’s new campus. Both stories connect social institutions, such as the nuclear family, with economic structures, such as private property or its alternatives. Wright’s version of the “American Dream” and Harlem’s public housing both draw lines of race, class, and gender, many of which persist today. Their differences remind us that the right to housing once defined, and could still define, what it means to live in America.

    --

    "Living in America" has been curated by The Temple Hoyne Buell Center for the Study of American Architecture at Columbia University’s Graduate School of Architecture, Planning, and Preservation (GSAPP), and is co-presented by The Buell Center, The Miriam and Ira D. Wallach Art Gallery, and Avery Architectural and Fine Arts Library. The exhibition is presented in correlation with Frank Lloyd Wright at 150: Unpacking the Archive, on view at The Museum of Modern Art, New York, from June 12 through October 1, 2017. “Broad Acres and Narrow Lots,” an associated essay by David Smiley, Assistant Director of the Urban Design Program at Columbia GSAPP, is included in the MoMA exhibition catalogue. Living in America’s curatorial team is composed of students from various Columbia University masters and doctoral programs together with the Center staff and in close collaboration with archivists from the Avery Architectural and Fine Arts library and other institutions.
  • Digital Art History: Practice and Potential

    London | Dates: 11 – 11 Oct, 2017

    PROGRAMME

    The first conference of the Early Career Researchers in British Art Network in partnership with The Courtauld Institute of Art’s Digital Art History Research Group (#DAHRG) and the Paul Mellon Centre for British Art

    Convened by Dr Hana Leaper (Paul Mellon Centre), Dr Sophie Hatchwell (University of Bristol) and Dr Fern Insh (Courtauld Institute of Art)

    This conference, organised under the auspices of the Early Career Researchers in British Art Network, and Digital Art History Research Group (#DAHRG), provides a platform for Early Career Researchers engaged or interested in digital art history to showcase their work, develop skills, and think broadly about how digitisation can innovate, challenge convention, and inform art-historical practice.

    In recent years, academics and institutions engaged in the Digital Humanities have brought together new technologies with historical research and scholarship. As a result, departments and institutions dedicated to the study of the Digital Humanities are becoming increasingly commonplace. Concurrently, art historians have sought to define what Digital Art History is, with eminent scholars such as Johanna Drucker and Diane M. Zorich interrogating its place within disciplinary practice and theory and many conferences and publications devoted to specifically defining what Digital Art History means.

    By inviting an emergent generation of scholars together, this conference intends to move beyond defining Digital Art History. Instead, we consider how digital technology integrates with and enhances art historical methodologies and theories in today’s digital world.

    Please visit the Paul Mellon Centre website for more details.

  • Fitch Fellowships for 2018

    Dates: 24 Aug – 25 Oct, 2017
    Since 1989, the James Marston Fitch Charitable Foundation has been in the vanguard of historic preservation practice and theory. The mission of the Fitch Foundation is to support professionals in the field of historic preservation, and to achieve this we provide mid-career grants to those working in preservation, landscape architecture, urban design, environmental planning, materials conservation, decorative arts, architectural design and history, and allied fields.

    Applications for 2018 funding are now being accepted. Applications must be submitted by October 25, 2017, 11PM EST. Applicants may apply for one of three available grants: the FITCH Mid-Career Fellowship, the Richard L. BLINDER Award and the Samuel H. KRESS Fellowship 

     FITCH MID-CAREER FELLOWSHIP:  Research grants of up to $15,000 will be awarded to one ore more mid-career professionals who have an academic background, professional experience and an established identity in one or more of the following fields: historic preservation, architecture, landscape architecture, urban design, environmental planning, architectural history and the decorative arts. The James Marston Fitch Charitable Foundation will consider proposals for the research and/or the execution of the preservation-related projects in any of these fields. View eligibility details and more.

     RICHARD L. BLINDER AWARD:  An award up to $15,000 will be presented biennially to an architect or other professional in a related historic preservation field for a proposal exploring architecture and preservation. The proposal may focus on a real project or it may be a polemical exercise; in either case, originality is highly valued. The proposal must advance architectural preservation in the United States. The product can be graphic, text-based or a combination of both and must be able to be shared with the architecture and preservation community. View eligibility details and more.
     
     SAMUEL H. KRESS MID-CAREER FELLOWSHIP:  Research grants of up to $15,000 will be awarded to one mid-career professional whose research project relates to the appreciation, interpretation, preservation, study and teaching of European art, architecture and related disciplines from antiquity to the early 19th century, in the context of historic preservation in the United States. Potential Kress Fellow projects could include the exploration of shared European and American influences in style, design, materials, construction techniques, building types, conservation and interpretation methodologies, philosophical and theoretical attitudes, and other factors applicable to preservation in both Europe and America.
    View eligibility details and more.
  • Rome: City and Empire

    Nashville | Dates: 23 Feb – 28 May, 2018

    The stories of Rome and its vast empire continue to captivate and intrigue people almost three thousand years after its foundation. Rome: City and Empire brings to Nashville more than two hundred of the British Museum’s most engaging and beautiful Roman objects. They tell the dramatic story of how Rome grew from a cluster of small villages into a mighty empire.

    The British Museum’s exceptionally broad collections have enabled the creation of a truly inspiring experience. Visitors will explore how the empire was won and held and learn about the rich diversity of her peoples. The exhibition is an accessible introduction to the Roman imperial period, yet also provides a range and depth of material for those with an existing interest in Roman history.

    The Frist Center is the exclusive North American venue.

  • AIA Chicago transFORM Leadership Program

    Chicago | Dates: 25 Oct, 2017 – 21 Feb, 2018
    Co-sponsored and powered by the Goldman Sachs 10,000 Small Businesses (GS10KSB) Chicago program, and in partnership with Harold Washington College, this collaboration will bring award-winning faculty to the fingertips of AIA Chicago members and AEC professionals. 

    GS10KSB is an investment to help entrepreneurs create jobs and economic opportunity by providing greater access to education, capital and business support services. With multiple sites nationwide, GS10KSB has served over 8,000 small business owners. The program has reached businesses from all 50 states, Puerto Rico, and Washington, D.C, and has resulted in immediate and sustained business growth for the alumni of the program. 

    AIA Chicago transFORM will combine the curriculum offered to GS10KSB participants with the business of architecture, and will feature speakers, panelists and educators from within the profession, providing real-world application of those business and leadership skills in an interdisciplinary setting.

    PROGRAM LOCATION

    Harold Washington College, 30 E Lake Street, Chicago IL 60601

    PROGRAM DATES

    Wednesday, October 25, 5:30-8:30 PM
    Wednesday, November 29, 5:30-8:30 PM
    Tuesday, December 12, 5:30-8:30 PM
    Wednesday, January 31, 5:30-8:30 PM
    Wednesday, February 21, 5:30-8:30 PM

    This program is meant to be completed as a whole and sessions will not be offered individually. 

    PROGRAM COST

    $250 for AIA members
    $500 for non-AIA members

    TOTAL CE: 15 LUs

    AIA Chicago encourages both members and non-members to apply, at all career development stages. While GS10KSB defines a small business as one with 500 or fewer employees, this program is specifically geared toward architects at all firm sizes, small and large.

    A limited number of spots are available, and we expect this program to sell out. Registration is now open.
  • The Getty Foundation Graduate Internships

    Los Angeles | Dates: 24 Aug – 01 Nov, 2017
    Getty Graduate Internships are offered in the four programs of the J. Paul Getty Trust—the J. Paul Getty Museum, the Getty Research Institute, the Getty Conservation Institute, and the Getty Foundation, as well as in Getty Publications—to graduate students who intend to pursue careers in fields related to the visual arts. Training and work experience placements are available in areas such as curatorial, education, conservation, research, publications, information management, public programs, and grantmaking.

    For full list of requirements and application procedures, visit webpage listed above.
  • Excavating the Charnley-Persky House: Archaeology of Chicago’s Gold Coast, 1880–1920

    Chicago | Dates: 26 – 26 Oct, 2017

    Archaeological finds from the Charnley-Persky House, a Louis Sullivan/Frank Lloyd Wright structure, reveal the intricacies of life in Gilded Age Chicago. Rebecca Graff, assistant professor of anthropology at Lake Forest College, and Pauline Saliga, executive director of the Society of Architectural Historians, discuss what the excavation at the house tells us about this forgotten past.

    $15, $8 members

    6:00 P.M. reception with cash bar, 6:30 P.M. lecture followed by Q+A.

    The Chicago History Museum is a proud program partner of the Chicago Architecture Biennial.

    Digital Chicago unearths the city’s past in order to preserve it for a digital future.

  • Louis Kahn: The Power of Architecture

    Philadelphia | Dates: 21 Aug – 05 Nov, 2017
    The story of master architect Louis Kahn (1901-1974) is intrinsically connected to Philadelphia, where he spent most of his life and career. Louis Kahn: The Power of Architecture is the first major retrospective of Kahn’s work in two decades, encompassing over 200 objects related to Kahn’s buildings and projects in the form of architectural models, plans, original drawings, photographs, and films. With complex spatial compositions and a choreographic mastery of light, Kahn created buildings of archaic beauty and powerful universal symbolism. The Fabric Workshop and Museum is proud to be the final venue of the international tour.
     
    The Power of Architecture extensively documents all of Kahn’s important projects—from his early urban planning concepts and single-family houses to monumental late works such as the Roosevelt Memorial in New York City (1973-74), posthumously completed in October 2012. Among his most important works are the Salk Institute in La Jolla, California (1959-65), the Kimbell Art Museum in Fort Worth, Texas (1966-72), and the National Assembly Building in Dhaka, Bangladesh (1962-83). The presentation of Kahn’s architectural projects is accompanied by a selection of watercolors, pastels and charcoal drawings created during his travels, which document his skill as an artist and illustrator.
     
    Highlights from The Power of Architecture include previously unpublished footage shot by Nathanial Kahn, the son of Louis Kahn and the director of the film My Architect, as well as interviews with architects such as Frank Gehry, Renzo Piano, Peter Zumthor, and Sou Fujimoto that underscore the continued significance of Kahn’s work.
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SAH thanks The Richard H. Driehaus Foundation Fund at The Chicago Community Foundation for its operating support.
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