Recent Opportunities

view-of-Edinburgh-from-castle
  • Tobias Armborst | The Arsenal of Exclusion & Inclusion

    Chicago | Dates: 14 – 14 May, 2019
    mas_context_arsenal_of_inclusion_and_exclusion

    The Arsenal of Inclusion and Exclusion © Courtesy of Interboro

    Tuesday, May 14, 2019. Event starts at 6 pm.
    RSVP HERE

    Lecture by architect and urban designer Tobias Armborst as part of the MAS Context 2019 Spring Talks in Chicago. The lecture will take place on Tuesday, May 14, 2019 at the Society of Architectural Historians (1365 North Astor Street, Chicago, Illinois 60610).

    The Arsenal of Exclusion & Inclusion

    Urban History 101 teaches us that the built environment is not the product of invisible, uncontrollable market forces, but of human-made tools that could have been used differently (or not at all). The Arsenal of Exclusion & Inclusion is an encyclopedia of 202 tools—or what we call “weapons”—used by architects, planners, policy-makers, developers, real estate brokers, activists, and other urban actors in the United States use to restrict or increase access to urban space. The Arsenal of Exclusion & Inclusion inventories these weapons, examines how they have been used, and speculates about how they might be deployed (or retired) to make more open cities in which more people feel welcome in more spaces.

    The Arsenal of Exclusion & Inclusion includes minor, seemingly benign weapons like no loitering signs and bouncers, but also big, headline-grabbing things like eminent domaon and city-county consolidation. It includes policies like expulsive zoning and annexation, but also practices like blockbusting, institutions like neighborhood associations, and physical things like bombs and those armrests that park designers put on benches to make sure homeless people don’t get too comfortable. It includes historical things that aren’t talked about too much any more (e.g., ugly laws), things that seem historical but aren’t (e.g., racial steering), and things that are brand new (e.g., aging improvement district).

    With contributions from over fifty of the best minds in architecture, urban planning, urban history, and geography, The Arsenal of Exclusion & Inclusion offers a wide-ranging view of the policies, institutions, and social practices that shape our cities. It can be read as a historical account of the making of the modern American city, a toolbox of best practices for creating better, more just spaces, or as an introduction to the process of city-making in The United States.

    Tobias Armborst, as part of Interboro, contributed to our Boundary issue with the article “The Arsenal of Exclusion & Inclusion.” You can read it online at www.mascontext.com/issues/17-boundary-spring-13/the-arsenal-of-inclusion-and-exclusion.

    Copies of The Arsenal of Exclusion & Inclusion will be available for purchase during the event.

    Tobias Armborst is an architect and urban designer, principal and co-founder of Interboro. Interboro is an award-winning architecture, urban design, and planning firm based in Brooklyn, New York. They are leading experts in public space design and community engagement. Tobias received a Diplom Ingenieur in Architecture from RWTH Aachen and a Master of Architecture in Urban Design from the Harvard Design School. He is Associate Professor of Architecture and Urban Studies at Vassar College. Along with Daniel D’Oca and Georgeen Theodore, principals and co-founders of Interboro, he is the author of the book The Arsenal of Exclusion & Inclusion (ACTAR, 2017).
    www.interboropartners.com | @access_wars

  • Verity-Jane Keefe | Operating Between the Cracks: Dagenham to Detroit, post-Ford Landscapes

    Chicago | Dates: 09 – 09 Apr, 2019

    mas_context_verity_jane_keefe_stamping_plant
    Mid-demolition, Ford Stamping Plant, Dagenham, 2017 © Courtesy of Verity-Jane Keefe


    Thursday, April 9, 2019. Event starts at 6 pm.
    RSVP HERE

    Artist Verity-Jane Keefe will lecture as part of the MAS Context 2019 Spring Talks in Chicago. The lecture will take place on Tuesday, April 9, 2019 at the Society of Architectural Historians (1365 North Astor Street, Chicago, Illinois 60610).

    Operating Between the Cracks: Dagenham to Detroit, post-Ford Landscapes

    During her talk, artist Verity-Jane Keefe will discuss her work focusing on Outer London and the research that has led her to Detroit. Verity will share selected projects and talk through how and if a locally embedded, long term socially engaged practice can be taken and applied to a seemingly disconnected new international context. It will be done via looking closely, writing your own briefs, developing bespoke funding models, research as practice, making proposals, and forging relationships. How can we make work that is both local and that translates on an international platform to a multitude of audiences, art and non-art?

    Verity-Jane Keefe is a visual artist, working predominantly within the public realm, using moving image, text, and installation to explore the complex relationships between people and place. She is interested in the role and potential of the artist within urban regeneration. For fourteen years she has been developing deep partnerships with a number of local authorities, working both with and alongside, on art commissions, planning policy work, archival and heritage projects, and regeneration schemes. She has an ongoing, accidental love affair with Outer London. She is currently artist in residence in Thamesmead for housing association, Peabody. Recent works include The Mobile Museum, The Wood Street Survey of Retail Trade, and Legoland. Verity-Jane is part of a collective of curators, academics, and artists who write long-term strategies for community and culture. She is an Associate Lecturer at Central Saint Martins, teaching a design studio on the MA Architecture with Julia King, and on BA Fine Art.
    www.verityjanekeefe.co.uk | @veritykeefe

  • Dartmouth Digital History Initiative Postgraduate Fellowship

    Hanover | Dates: 21 Mar – 08 Apr, 2019

    Dartmouth College seeks a Postgraduate Fellow to serve as Project Manager for the Dartmouth Digital History Initiative (DDHI), a new project that connects oral history and the digital humanities.  Launching in July 2019, the DDHI is a multi-year project to develop a suite of digital tools for use with digital collections of oral history interviews.  These open-source tools will enable users to easily analyze and visualize data drawn from large sets of oral history archives, and to produce digital products such as geospatial maps, timelines, graphs, or charts.  The DDHI and this postgraduate fellowship are funded by a grant from the National Historical Publications and Records Commission of the US National Archives.

    As DDHI Project Manager, the Postgraduate Fellow will join our team of historians, archivists, and digital humanists to collaborate on the design and testing of the DDHI digital tools.  Reporting to the Project Director, the fellow will manage all major components of the project, including the development of new oral history metadata practices and the creation of a tag library for use with oral histories.  The Fellow will also coordinate the team’s work with the information technology consulting firm that will be responsible for developing the software.  In addition, the Fellow will supervise the training and work of undergraduate students on the project, and participate in outreach efforts to groups of prospective users, both locally and nationally.

    The platform on which we will build and test the DDHI is the digital archive of the Dartmouth Vietnam Project (DVP), a student-centered oral history experiential learning program established at Dartmouth in 2014.  Because the DVP is an active program, the Fellow will work closely with its leaders and student participants.

    The tenure of this fellowship is for two years (July 2019-June 2021).  The position is a Dartmouth College benefits-eligible position and the annual salary is $50,000.

    Qualifications

    • Ability to manage undergraduate student personnel and complex workflows
    • Ability to work effectively on a team
    • Knowledge of oral history methodology and theory
    • Knowledge of and interest in digital humanities practices
    • Excellent oral and written communication skills

    Candidates must have an advanced degree (MA or PhD) in Library and Information Science, Oral History, or a related field.  Project management experience is preferred, as well as familiarity with digital content management systems such as Omeka, Scalar, or Wordpress.  Knowledge of Text Encoding Initiative (TEI) markup practices is a plus.

    Application Instructions

    Applicants should submit the following:

    • A letter describing their interest in the fellowship and the project;
    • A curriculum vitae;
    • A confidential letter of recommendation from an academic adviser or other mentor who can speak to the applicant's qualifications for the position.

    Review of applications will begin on April 8, 2019 and continue until the position is filled.

  • Design Migrations: Circuits of Graphic Exchange

    Chicago | Dates: 04 – 05 Apr, 2019

    Design Migrations:
    Circuits of Graphic Exchange between Switzerland, the US, and Beyond
    April 4-5, 2019

    Organized jointly by the School of Design at the University of Illinois at Chicago and the Visual Communication Institute at the Hochschule für Gestaltung und Kunst Basel, this conference brings together designers and design historians to examine and reflect on the past, present, and future of design migrations between Switzerland, the US, and beyond.

    The years after the Second World War witnessed the emergence of several distinct national design traditions that rose to global prominence. Within the broader contexts of the Cold War and the emerging global markets established by postwar reconstruction, such design traditions served to define discrete cultural identities for the nations that fostered them, including Italy and the Scandinavian countries as well as Switzerland, and reinforced the status of those nations as independent geo-political entities through the international dissemination of distinctive products and services. Since the end of the Cold War and the subsequent expansion of globalized systems, however, design practices themselves are increasingly transnational, a condition that simultaneously undercuts the significance previously accorded to national design traditions and contributes to the heightened stakes of current discussions of national identity. This conference aims to explore the historical emergence of this aspect of contemporary design culture with an eye toward developing a better understanding of the diverse roles that design plays in constituting and disseminating identities at the local, regional, national, and international scale.

    Thursday, April 4
    6:00PM

    Panel Discussion
    Reception to follow

    Location: 
    Morningstar
    22 West Washington Street
    Chicago IL 60602

    Friday, April 5
    10:00AM – 7:00PM 

    Location:
    UIC Architecture + Design Studios 1300 
    845 W. Harrison Street 
    Chicago IL 60607

    All events free + open to the public

     

    Speakers

    Chiara Barbieri, Hochscule der Künste Bern

    Amir Berbic, UIC School of Design

    Sandra Bischler, Swiss Graphic Design and Typography Revisited 

    Philip Burton, UIC School of Design

    Ted Davis, HGK Basel Visual Communication Institute

    Michael Golec, School of the Art Institute of Chicago Art History, Theory and Criticism

    Julia Meer, Humboldt University Bild Wissen Gestaltung Laboratory

    Jonathan Mekinda, UIC School of Design

    Piotr Michura, School of the Art Institute of Chicago Visual Communication Design

    Sarah Owens, Zürcher Hochschule der Künste Visual Communication

    Michael Renner, HGK Basel Visual Communication Institute

    Alisa Wolfson, Leo Burnett Chicago 

    Acknowledgements
    Generous support for this conference has been provided by swissnex Boston and the College of Architecture, Design, and the Arts, 
    University of Illinois at Chicago.

  • CFP: FACES 76: Art and Urban Space.

    Dates: 21 Mar – 30 Apr, 2019

    (FR) Revue FACES, no. 76, automne 2019. www.facesmagazine.ch

    Appel à articles, peer-review.

    FACES 76: Art et espace urbain.

    Contrastant avec le Venezuela actuel  et  l’image  qu’il  renvoie,  celui  des  années  1950 et 1960 fut un laboratoire exceptionnel de synthèse des arts à l’échelle urbaine. Le directeur de    la revue Domus, Gio Ponti, parlait à ce propos, en 1954, du « courage de la fantaisie » du Venezuela et un reportage saisissant montrait comment un idéal d’intégration des arts était en marche via des œuvres d’art de Léger, Calder ou Vasarely à la cité universitaire de Caracas. Le prochain numéro de la revue internationale FACES  sera consacré à cette idée d’intégration de  l’art dans l’espace public, hier comme aujourd’hui. Si dans la conception des avant-gardes européennes l’homme moderne était le produit d’un nouvel environnement visuel et perceptif totalisant, dans la période d’après-guerre la question de l’aménagement des espaces publics – nous pensons à des installations aussi bien plastiques que sonores – est plutôt une affaire de décorum, d’insertions ponctuelles qui meublent un espace donné. Bref, un art  appliqué  à  l’espace public et qui en constitue le décor (sans que ce terme soit connoté de façon péjorative). Des pays comme la Suisse ont établi depuis de nombreuses années le financement de la culture par les collectivités publiques qui oblige tout édifice construit par une entité  publique  à  accueillir une œuvre d’art à l’intérieur ou à l’extérieur d’un bâtiment. Les villes les plus importantes de Suisse favorisent l’insertion d’œuvres dans l’espace public et mènent une

    politique très engagée à cet égard. Des manifestations de réputation internationale comme la Skulpture Projekte de Münster expérimentent par ailleurs ce rapport entre espace ouvert de la  ville et l’objet artistique ou l’installation. Nous pourrions également mentionner une pratique contemporaine fort appréciée par la classe « créative » et cosmopolite qui consiste à intégrer des œuvres ou des installation dans des parcours pré-ordonnés, dans des jardins thématiques, dans  des îles que l’on traverse (Teshima et Naoshima au Japon) ou à demander à des architectes de renom de construire chacun un objet sculptural, le plus saisissant possible — enseigne de vente pour une marque de luxe — le long d’une artère prisée. Ces réflexions nous ramènent à  la  culture beaux-arts propre aux expositions et aux foires nationales et internationales. Le dessin   des palais et des pavillons d’exposition (souvent éphémères) constitue à ce titre, et depuis plus d’un siècle, un exercice stylistique et spatial Mies à Barcelone, Sert à Paris, Zumthor à Hanovre, pour n’en citer que quelques-uns), à mi-chemin entre l’objet d’art et  l’objet  iconique,  témoignage culturel d’une région.

    L’appel à articles que lance la revue FACES pour la livraison du numéro 76 se déroulera

    ainsi:

    • –30 avril 2019, date de soumission d’un abstrait (maximum 5 000 signes), accompagné

      d'une courte présentation de l’auteur (500 signes) ;

    • –15 mai 2019, annonce des résultats de la sélection des propositions par le comité de rédaction ;
    • –15 juillet 2019, soumission des articles complets (maximum 25 000 signes, notes comprises). Les articles feront l’objet d'un examen à double insu par les pairs ;
    • 2 septembre 2019: annonce des articles retenus ;

       

    • 30 octobre 2019: publication des articles retenus.

    Les propositions peuvent être envoyées en français ou en anglais à l’adresse info@facesmagazine.ch.

    English translation below.

    (EN) FACES magazine, no. 76, autumn 2019. www.facesmagazine.ch

    Call for Papers, peer-review.

    FACES 76: Art and Urban Space.

    Contrasting with the image of present-day Venezuela, during the 1950 and 1960 the country was an exceptional laboratory for the synthesis of the arts at the urban  scale.  The director of the magazine Domus, Gio Ponti, spoke in 1954 of the « courage of the fantasy » in Venezuela, while a striking article showed how an ideal of the integration of the arts was taking shape through the works of Léger, Calder or Vasarely  at the University City of Caracas. The   76th number of the international magazine FACES is dedicated to this idea of past and present integration of the arts in the public space. If in the view of the European avant-garde modern   man was the product of a new totalising visual and perceptive environment, in the post-war  period the question of planning the design of public spaces — keeping in mind both plastic and sound art installations — was mostly an affair of decorum, of punctual insertions that furnish a given space. In short, we are talking about an applied art to the public space, one that constitutes the decor (without considering the term as being pejorative). Countries like Switzerland have  long implemented the principle that the financing of culture be made by public entities, which   are obliged to welcome art inside or outside any new public building. Switzerlands’ most important cities are particularly committed to the idea that the insertion of art takes place in the public space. Internationally renowned events such as the Skulpture Projekte in Münster experiment this very relationship between the open space of the city and the art-piece or the installation. We can also mention a contemporary practice that is very appreciated by the

    « creative » and cosmopolitan class that consists in integrating works of art or installations along pre-determined paths, in thematic gardens, on islands (Teshima and Naoshima in  Japan)  or asking several high profile architects to design sculptural objects, one more striking than the    next — such as flagship stores for luxury brands — and placing them along popular avenues. These reflexions bring us to the Beaux-Arts culture typical of national or international fairs or exhibitions. The drawing of (an often temporary) palace or an exhibition pavilion has been for more than a century a stylistic and spatial exercice (Mies in Barcelona, Sert in Paris, Zumthor in Hanover, to cite only a few), half-way between the work of art and the iconic object, standing as  a cultural testimony of a region.

    For its 76th number, FACES launches an international call for papers which will take  place as follows:

    • April 30th, 2019, submission of paper abstracts (maximum 5000 characters), as wellas a short biography of the author (500 characters) ;

       

    • May 15th, 2019: the editorial board announces the selection results ;
    • July 15th, 2019: full paper submission (maximum 25,000 characters, notes included).

      All articles will pass a double-blind peer review process ;

    • September 2nd, 2019: announcement of selected articles ;
    • October 30th, 2019: publication of selected articles.

    All proposals must be sent in either French or English at info@facesmagazine.ch

  • PhD Studentship: Shaping Postcolonial Worlds: Otto Koeningsberger, Global Architecture and the Networks of the International Planning Consultant

    London | Dates: 21 Mar – 03 May, 2019

    Birkbeck, University of London and the Architectural Association Archive invite applications for a three-year or six-year part-time Collaborative Doctoral Award beginning 1 October 2019. This PhD research, supported through the CHASE Doctoral Training Partnership, will examine the post-WW2 work and influence of Otto Koenigsberger (1908-99) as part of the postwar phenomenon of the international planning consultant.

    Funding: AHRC stipend for the academic year 2019-20 (£15,559 non London / £17,559 with London weighting). This includes enhanced stipend to cover additional travel costs relating to the project.
    Hours: full- or part-time
    Closing date: Friday 3 May 2019, 12 noon
    Interview date: Between 6 and 17 May 2019

    This funded PhD is concerned with how architectural knowledge related to these networks and their modes of dissemination. The objective is to use Koenigsberger’s work and career to engage with a set of issues around architectural modernism and its relation to modes of knowledge and power in the first postwar phase of globalisation. While Koenigsberger’s work will be at the heart of the project, it might also draw on comparisons with other similar experts using the range of secondary material that has been published in recent years.

  • Undesign the Redline

    Chicago | Dates: 04 – 04 Apr, 2019

    Exhibit Opens April 4th at 5:30 PM
    FREE and open to the public
    With a party co-sponsored by Chicago Area Fair Housing Alliance from 5:30-7:30 PM
     625 N Kingsbury St. Chicago, IL.

    The National Public Housing Museum invites you to the opening of an important interactive exhibit connecting the intentional and systematic racial housing segregation of the 1930s to political and social issues of today. Explore the history of housing discrimination and activism through the powerful narratives of the people and communities affected by redlining and its legacy.

    Be inspired by stories of vision and change. Become part of the conversation for new equitable policies and practices.

    Exhibit is presented by Enterprise Community Partners, Designing the WE and Elevated Chicago.

    A collection of the only known color photographs of Dr. Martin Luther King and the Chicago Freedom Movement, taken by Bernard Kleina during King’s visit to Chicago in 1966, will be on display. The exhibit will also feature an installation by Celestia Morgan that explores the histories of racially-based housing discrimination exemplified in Birmingham, Alabama.
  • Giuliana Bruno and Alice Friedman – Modern Architecture, Media, and Gender

    Rome | Dates: 03 – 03 Apr, 2019

    Wednesday, 3 April 2019 - 6:00pm
    Villa Aurelia
    Rome

    This event is part of the series New Work in the Arts & Humanities: The Body.

    How does modern architecture construct and “screen” body space? How do material relations show on surfaces, from faces to façades? Discussing the representation of surface space in architecture and media, this conversation, moderated by John Ochsendorf, will touch on walls, screens, masks, and projections, both literal and figurative.

    Giuliana Bruno is Emmet Blakeney Gleason Professor of Visual and Environmental Studies at Harvard University and current Louis Kahn Resident in the History of Art at the American Academy in Rome. Alice Friedman is Grace Slack McNeil Professor of American Art at Wellesley College and current Rea S. Hederman Critic in Residence at the American Academy in Rome. John Ochsendorf is Class of 1942 Professor of Architecture and Civil and Environmental Engineering at the Massachusetts Institute of Technology (MIT) and Director of the American Academy in Rome.

    The event will be held in English. Watch it livestream at https://livestream.com/aarome.

    The Helen Frankenthaler Foundation is the 2018–19 season sponsor of Conversations/Conversazioni: From the American Academy in Rome.

  • CFP: Urban Science Special Issue - Urban Green Infrastructure

    Dates: 21 Mar – 31 May, 2019

    People appreciate comfort and care. People make cities. Cities must use the stratum they rest on?the soil and the water?to facilitate improved comfort and care between people and the ecology of their place.

    The cities of today are full of promise. There are many examples of actively designed green infrastructure that are already in place. These are measurably benefiting the residents, providing ecosystem services, and aiding in re-establishing pre-industrial-era ecologies.

    There are also many fragmented or remnant ecologies which show us the ability of novel landscapes or unique public spaces to emerge.

    The cities of tomorrow will be better. They have to be. Cities will accommodate the additional population pressures better than we responded, in general, during the 20th century. They will be better in part due to our active research of the positive impacts of green infrastructure, announcing the findings, noting the limitations, and suggesting pathways forward for the relevant climate and topography.

    In this context, the objective of this Special Issue is to expand the field of knowledge of Urban Green Infrastructure. The issue will zoom through the scales from the city region to the abandoned city lot and from day-lit streams to oyster bed flood barriers; from urban forests and stormwater catchment basins to the watershed of a continent; from bioswales to fish pond nutrient cycling, and beyond.

    Papers are due 29th May 2019 and all accepted articles will be published open access, without cost for this Special Issue.

  • Infrastructure and Capacity Building Challenge Grants

    Dates: 21 Mar – 03 Apr, 2019
    NEH guidelines are now available for Infrastructure and Capacity Building Challenge Grants! Awards up to $750,000 in federal matching funds support capital expenditures, equipment & software, collections preservation & conservation, and existing digital infrastructure. These grants have a fundraising component and offer special encouragement to projects addressing the 250th anniversary of American independence and those from HBCUs, HSIs, TCUs, and community colleges. Optional drafts reviewed if sent by April 3. Questions welcome at challenge@neh.gov or 202-606-8309. Deadline: May 15. https://bit.ly/2Dqnjip
  • ARIAH Digital Development Award for Art History Publishing

    Dates: 21 Mar – 03 Jun, 2019

    Launched in 2017, ARIAH is delighted to be offering again an award that contributes funding to the development of digital publications. This award is aimed at scholars seeking to take advantage of new possibilities offered by digital publishing platforms for presenting art historical research. It is also aimed at online publishers (broadly defined to include different kinds of online platforms that disseminate research, such as online journals, digital project spaces, and discrete parts of museum websites dedicated to scholarly content). The award is intended to help scholars move into the digital realm; to encourage innovative ideas in how digital publishing can support new modes and methods for disseminating art historical research; and to assist collaboration between authors and online publishers to enhance the digital presentation of research, which, it is hoped, will serve as future models for others and find broader applications in the field.

    Scope of the Award

    Applications are invited for projects up to the sum of $10,000. However, projects requiring smaller sums of funding of $5,000 or less are strongly encouraged. The award is intended as a subvention to assist with the development of digital tools, the creation of digital media, or enhancement of digital platforms that form a necessary part of a single discrete art historical essay, article, or project. The digital platform must already be in existence (i.e., the award is not for developing entirely new platforms or journals). The award will be offered on a two-year cycle.

    Application Process

    A completed application form and Letter of Intent and a completed application form must reach the committee by June 3, 2019. The committee will select the most promising projects and invite full applications to be submitted by September 2, 2019.

    For more information on the Digital Development Award, download our pdf. The application form can be completed here.

    Contact details: submit any queries and completed applications to ariahdigital@gmail.com

    Projects funded by the inaugural Digital Development Award (2017–18) were:

    http://www.journal18.org/past-issues/5-coordinates-spring-2018/

    https://www.afterall.org/exhibition-histories/the-other-story

    Contact details: submit any queries and completed applications to ariahdigital@gmail.com.

  • ASLA 2019 Communications Internship

    Washington | Dates: 21 – 29 Mar, 2019

    The American Society of Landscape Architects (ASLA) seeks a full-time summer communications intern. The intern will research and update ASLA’s sustainable design resource guides, create case studies on resilient design, and write weekly posts on landscape architecture and related topics for The Dirt blog.

    Responsibilities:

    • The internship is full-time Monday through Friday for 10 weeks, from June through August.
    • The intern will research and update resource guides on livable, inclusive communities and other topics.
    • The intern will provide communications support for the Smart Policies for a Changing Climate project, including creating case studies on resilient landscape design.
    • The intern will create original weekly content for The Dirt, covering projects, events, and new publications.
    • The intern will also have the opportunity to attend educational and networking events at the National Building Museum, Harvard University’s Dumbarton Oaks, and other museums and think tanks in Washington, D.C.
    • Other communications projects may come up as well.

    Requirements:

    • Current enrollment in a Master’s program in landscape architecture.
    • Excellent writing skills. The intern must be able to write clearly for a general audience.
    • Excellent photographic composition and editing skills.
    • Proven research skills and ability to quickly evaluate the quality and relevance of resources.
    • Excellent interpersonal skills and ability to interact graciously with busy staff members and outside experts.
    • Working knowledge of Photoshop, WordPress, and Microsoft Office suite.

    How to Apply:

    Please send cover letter, CV, two writing samples (no more than 2 pages each) to jgreen@asla.org by end of day, Friday, March 29.

    Phone interviews will be conducted with finalists the week of April 1 and selection will be made the following week.

    The 10-week internship offers a $4,500 stipend. ASLA can also work with the interns to attain academic credit for the internship.

    The internship is in-house located at the ASLA Center for Landscape Architecture, the national headquarters, which is conveniently located in downtown Washington, D.C., one block north of the Gallery Place/Chinatown Metro Station on the Red, Yellow, and Green Lines.

  • CFP: Narratives of Disease, Discomfort, Development, and Disaster: Reconsidering (sub)Tropical Architecture and Urbanism

    Brisbane | Dates: 21 Mar – 26 Apr, 2019

    Narratives of Disease, Discomfort, Development, and Disaster: Reconsidering (sub)Tropical Architecture and Urbanism

    A stream of iNTA2019

    Urban Tropicality: Urban Challenges in the Tropical Zone 
    December 5-8 2019
    Brisbane Australia

    Stream convened by Dr Deborah van der Plaat (The University of Queensland), Dr Vandana Baweja (University of Florida) and Professor Tom Avermaete (ETH Zurich).

    Cyclone damaged Methodist Church at Mackay (Queensland, Australia) 1918. This image depicts the flattened Methodist Church on Gregory Street, Mackay and the damaged Parsonage next door. (Image: John Oxley Library, State Library of Queensland)

    Hurricanes Irma and Maria (2017) have demonstrated the urgent need for architecture in the tropics to be resilient to tropical cyclones, storms, sea surges and floods. Yet, in architectural historiography, tropical architecture has been viewed as a colonial construct acting in response to disease and discomfort – factors that needed to be conquered, overcome, and tackled. For example: in Triumph in the Tropics: An Historical Sketch of Queensland (1959), the Australian medical practitioner Raphael Cilento (1893–1985) linked the advancement of tropical Australia to the conquest of disease and attainment of comfort by the European settler, both realized through domestic design and urban planning. Despite a long history and frequent occurrence of flood, tropical storms, and cyclones – causal attributes long identified in colonial discourses as limiting the development potential of tropical regions—floods and hurricanes have begun to dominate tropical architectural discourses only recently. The correlation between anthropogenic climate change and the increasing intensity of hurricanes and sea level rise has led to the dominance of the trope of disaster in contemporary tropical architectural discourses. In addition, as it became apparent that buildings, as one of the key consumers of fossil fuels contribute significantly to climate change; the relationship between architecture and climate has gone through a paradigmatic shift—from one in which climate was a determinant of architectural metrics, to one in which architecture is seen as an active agent in the transformation of global climatic systems. As a consequence, tropical architecture, which began as discourse founded on the relationship between architecture and climate to ensure the well-being of the human body in a localised context, is now seen as a discourse where the production and operation of architecture have global planetary impact.

    The idea of tropical and subtropical architecture and urbanism initially developed through a particular connection between discourses on disease, spatial practices and optimum architectural typologies, which were believed to circumvent the spread of tropical diseases and to maintain the comfort of the white settler. After the Second World War, the focus shifted from the European settlement of the colonial tropics to the self-development and governance of the world’s tropical regions; a phenomenon necessitated and propelled by post-war decolonization and global regimes of development aid. Accompanying this change was a shift away from the physiological comfort of the colonial settler to a new focus on indigenous cultures, vernacular building traditions, use of local materials, and increasing appreciation for the psychological value of cultural conventions, including superstition and taboo.

    The aim of this stream is to examine how “triumph” in the tropics was imagined across multiple geographies, by various subjects, through diverse discourses, and at different times and to critically investigate the roles architecture and urban planning played in this process. How are particular attributes of the (sub) tropics – climatic, environmental, social, ideological, spatial, and developmental – constructed through the discipline of architectural history? What role has architecture played in the imagination of tropicality through acclimatization, hygiene, comfort, development, and resilience; and how was this represented? How has architecture’s role in the imagination of the tropics shifted over time as political regimes transformed from colonization-settlement to decolonization-development debates? Is there a core set of ideas or values that constitute the imagination of the built environment in the tropics? How do these compare to indigenous understandings?  What is the relation between the imaginaries of tropical architectures and cities by colonizers and colonized, or by transnational development experts and the receivers of this aid?

    We particularly welcome papers that offer historical case studies of tropical and subtropical architecture and urbanism examined through one of four lenses: disease, discomfort, development or disaster. Case studies or papers may consider (but are not restricted to) the following topics.

     

    Disease

    In colonial hygiene and medical discourses a causal relationship was established between the tropical climate and disease. This was based on a pathologisation of the tropics based on the assumption that diseases were caused by putrefaction and fermentation, which in turn were caused by tropical climatic conditions.  From its inception, tropical architecture was globalised as a set of spatial practices in the tropical world through treatises on tropical medicine and hygiene manuals. Spatial prescriptions for buildings, street layouts, and type designs in the colonies were transformed with developments in medicine and hygiene. In the late-nineteenth and early twentieth centuries, theories of Helminthology, Bacteriology, and Parasitology clarified how diseases were transmitted through vectors.

    How did the rapidly changing discourses of tropical medicine – from miasma to germ theory – change architecture?  When, why and how did disease feature so strongly in the colonial discourses on the tropics and subtropics. What anxieties, ideologies and/or climatic theories informed this debate? What technical, spatial and urban strategies were developed to mitigate the transmission of tropical diseases? How did the colonized communities respond to the architectural and urban discourses that developed as a consequence of tropical medicine and hygiene? Who were the key writers, disciplines or organisations that shaped this debate and what consequences did this have for local and/or colonial communities? 

     

    Discomfort

    Diseases and discomfort were competing factors in the design of tropical architecture from its inception. As the transmission of tropical diseases was better understood, the discourse on the body in tropical architecture shifted from environmental health concerns around contagious diseases to physiological comfort and productivity. This stream will examine how comfort became a dominant category in the discourses on tropical and subtropical architecture and urbanism. How was tropical or subtropical discomfort (or fatigue) defined, for whom, and what spatial, material and technological strategies were developed in buildings and cities to address this? What anxieties did tropical discomfort address? How did race and gender enter discourses and practices? What role did ornamentation and decoration play in the mediation of tropical discomfort? Was the move from imperial colonialism to settler colonialism significant and what impact did this have on the climatic anxieties of settler communities. What was the role of the physiological scientist and/or method on understandings of climate in the early to mid-twentieth century and did this effect perceptions of tropical and subtropical architecture? What governmental bodies controlled these debates? Who were the key writers and/or adherents of such ideas?

    Development

    Post-war de-colonisations brought discourses of ‘development aid’, defined as the economic, social and technical advancement of the world’s tropical regions. Concerns for white discomfort were replaced with a new focus on shelter, low-cost housing, self-help housing, vernacular building technologies and materials, and the acknowledgement of local customs and taboos. What consequences did decolonization and rapid modernization have on architecture and urban design in these regions? How did transnational organizations such as the United Nations in collaboration with private and governmental organizations shape, support, and facilitate a new developmentalist agenda? Who were the key actors, theorists, writers and architects in this arena at the intersection of tropical architecture and postwar development? How did the postwar developmental paradigm break away from earlier paradigms of tropical architecture?. What role was played by programmes in tropical architecture such as the Department of Tropical Architecture at the Architecture Association (London, 1955 –71) or the postgraduate studies in Tropical architecture offered by Balwant Saini and Steven Szokolay at the University of Queensland in the 1970s and 1980s.

    Despite a long association of the “torrid zone” with natural disaster, and particularly flood and tropical cyclone, the historiography on the tropics and subtropics rarely documents architectural and urban responses to such phenomena. While their influence and impact is hinted at by structures such as the elevated house and the use of lightweight building materials, it is only in recent years that extreme weather events and rising sea levels have identified resilience as a priority for these regions. We seek papers that document architectural and planning responses, past and present, to tropical storms and flood. Papers may examine specific events (Typhoon Wanda, Hong Kong, 1962; Cyclone Tracey, Darwin 1974; or Hurricane Maria, Puerto Rico, 2017) and their impact on the built environment and cultural heritage of their regions; the historical role of regulation, building codes and zoning and their material impact or consequences; historical discussions or debates on tropical resilience; and attempts, both past and present, to develop new and more resilient models of housing and infrastructure in the world’s tropics and subtropics. The recent promotion of tropical and subtropical architects by governmental programs (i.e. the HEAT program sponsored by the Queensland State Government) to face global challenges such as climate change offers an alternate focus.

    Narratives of Disease, Discomfort, Development and Disease: Reconsidering (sub)Tropical Architecture and Urbanism, is a stream of the 2019 iNTA Conference and will run over 2 days. The stream will consist of panels of three to four papers of twenty minutes each, with four to five panels per day. Authors will be invited to publish their papers as an edited book to be published in 2020. Authors who submit papers and are accepted are expected to attend and present at the conference.

     

    Submission Information & Instructions

    Submit abstracts of no more than 300 words in length by email as Word documents to:  https://easychair.org/conferences/?conf=inta2019.  Please name the email subject ABSTRACT-SURNAME and use this name for your submission file as well. Please nominate which stream you would like your paper to be considered under.

    April 26, 2019: Abstracts due

    May 17, 2019: Notification of Acceptance & feedback on abstract

    July 26, 2019: Paper Submission 1

    October 18, 2019: Paper submission 2

    Dec 6, 2019: INTA conference and presentation of papers (Brisbane): feedback from conveners.

    Additional details on paper submissions will be provided with notification of acceptance.

    For further information please contact: d.vanderplaat@uq.edu.au, vbaweja@ufl.edu, or tom.avermaete@gta.arch.ethz.ch

  • Objects & Technologies of Schooling: Rethinking 20th Century Architectural Pedagogies

    Queensland | Dates: 17 – 17 Apr, 2019
    OBJECTS & TECHNOLOGIES OF SCHOOLING is a travelling international workshop collaboration between the University of Queensland?s Architecture Theory Criticism and History Research Group (ATCH) and KU Leuven - SRN Texts-Buildings.

    When: Wednesday 17 April 2019, 1:00pm to 5:00pm
    Where: The University of Queensland, St Lucia Campus, Room 49-313A (Advanced Engineering Building)

    Despite a growing interest in institutional histories and key educational figures, the complex processes that transformed architecture?s pedagogies in the 20th century are still under theorised. This workshop widens the geographical scope beyond local institutional histories and sets out to discover the very distinct materialities and technologies of schooling as active agents in the making of architectural school. Speakers will study graphic images, studio tools, experiments and events, lecturing devices and material infrastructures by which architect-educators and students produced and expressed ideas in 20th century educational contexts. By focusing on the visual and oral, rather than the textual means by which architectural knowledge was generated and disseminated in the past, they will scrutinise the unstudied link between traditional institutional studies, intellectual or conceptual studies and material/visual culture studies.

    Confirmed speakers are Deborah van der Plaat and John Macarthur (University of Queensland), Lee Stickells (University of Sydney), Paul James (University of Queensland), Julia Gatley (University of Auckland), Rajesh Heynickx (KU Leuven) and Elke Couchez (University of Queensland)

    Registrations are now open! Please visit the website for more information and the full programme: https://www.architecture.uq.edu.au/objects-technologies-schooling

  • New MA in Architectural History

    London | Dates: 20 Mar – 31 Aug, 2019

    We are excited to announce a new MA in History of Architecture at Birkbeck (University of London). The MA will be launched in October 2019 and is already taking applications for admission. Students can also apply for the Postgraduate Certificate (the core course and one option) or the Postgraduate Diploma (all elements except the dissertation). 

    The MA will be located in Birkbeck’s Department of History of Art, which has a long and distinguished tradition of teaching the history of architecture dating back to Nikolaus Pevsner’s time at Birkbeck. The planning for the new MA is part of a series of initiatives in the field of architectural history, which include the rich programme of activities run by the Architecture Space and Society Centre (http://www.bbk.ac.uk/assc/), the appointment of Mark Crinson as Professor of Architectural History, a series of PhD workshops and public events held with the ICA, new funded PhD studentships, and a major international conference next year on the relation between the history of architecture and the history of design (http://www.bbk.ac.uk/assc/2018/09/18/cfp-building-object-design-architecture-exploring-interconnections/).

    Students on the new MA will choose two option modules on topics such as ‘This is Tomorrow: Architecture and Modernity in Britain and its Empire, 1930-1960’, ‘Space and Politics in Modernity’, ‘Rome: Place, Continuity and Memory’, ‘Gothic in England: Architecture, Liturgy and Identity, 1170-1360’, and ‘Architecture and Spectacle in Late Medieval Europe’. Students take the core course, ‘Frameworks’ alongside students doing the MA in History of Art and MA History of Photography. As well as seminars on key questions of shared interest to these disciplines, it will also discuss issues and methods of current importance in the development of the History of Architecture. Students also undertake two research modules, the Research Project and the Dissertation, on topics of their choice, supervised by subject specialists. 

    The MA can be studied full-time or part-time. As with all Birkbeck’s degree programmes, teaching will take place in the evenings, allowing students to fit their studies around work commitments. Site visits and field trips will draw on the rich built environment of London and beyond.

  • Frank Lloyd Wright, the Art Institute, and the Robie House, 1900–1910

    Chicago | Dates: 05 – 05 Apr, 2019

    The Frank Lloyd Wright Trust, in partnership with the Art Institute of Chicago, presents Frank Lloyd Wright, the Art Institute, and the Robie House, 1900–1910.

    Kathryn Smith explores the exhibitions of his work that Wright organized and presented with the Chicago Architectural Club at the Art Institute during his Chicago years, and discusses the ways in which these exhibitions articulated his seminal design philosophy and won over his detractors. Wright had substantial ties to the Art Institute during the first decade of the 20th century when he created the Prairie style, finally and fully expressed in the Robie House. Daniel Catton Rich, Director of the Art Institute during the 1950s, was among those leaders who spearheaded the campaign to save the Robie House from demolition in 1957.

    Kathryn Smith is an architectural historian and preservationist based in Los Angeles, who lectures and writes on Frank Lloyd Wright. Her recent book Wright on Exhibit, published by Princeton University Press and supported by a National Endowment for the Humanities Fellowship, was selected as one of the 25 best books of 2017 by Metropolis Magazine. Wright organized over 100 exhibitions over his lifetime. Smith demonstrates that Wright was an artist-architect projecting an avant-garde program, an innovator who expanded the palette of installation design as technology evolved, and a social activist driven to revolutionize society through design. Smith’s other books include Frank Lloyd Wright: American Master, Frank Lloyd Wright, Hollyhock House, Olive Hill: Buildings and Projects for Aline Barnsdall, and Schindler House.

    Free with admission to the Art Institute.

  • Renewing Wright’s Vision: Restoring the Robie House

    Chicago | Dates: 19 – 19 May, 2019

    Completed in 1910, the Robie House is celebrated as one of the defining buildings of Frank Lloyd Wright’s career. Spring 2019 marks a critical moment in the history of this remarkable building as the Trust completes interior restoration of the major rooms of the house. Restored wall and ceiling plaster and vibrant original coloration have transformed the interiors, and the reinstallation of historic lighting and leaded glass windows illuminate the space as Wright originally intended.

    Join preservation architects Gunny Harboe of Harboe Architects and Karen Sweeney of the Frank Lloyd Wright Trust, and Tim Samuelson, Cultural Historian for the City of Chicago, as they discuss the restoration of Wright’s iconic Robie House. The discussion will be moderated by Trust Curator, David Bagnall.

    Immediately following the panel discussion, visit Robie House for a private reception of this restored Prairie masterpiece. Karen Sweeney and Trust Curator David Bagnall will be on hand to answer questions about this important restoration.

  • Design Knowledge in the Era of Environmental Collapse

    Melbourne | Dates: 18 Mar – 15 Apr, 2019

    THEME ISSUE OF SHE JI

    CALL FOR SUBMISSIONS

    DESIGN KNOWLEDGE in the Era of Environmental Collapse

    Guest editors: Stanislav Roudavski, Paul Walker  

    Synopsis This issue of She Ji: The Journal of Design, Economics, and Innovation seeks to question the capacity of design to specify preferred future states in the conditions of environmental collapse. The acute environmental crisis is the primary problem of the future. The pervasive exploitation of the environment leads to severe degradation of habitats, unprecedented levels of animal suffering, mass species extinction and the collapse of multiple ecosystems. Human activities expand beyond the safe operating space for planetary systems. Disregard for these boundaries poses global existential risks. The challenge of addressing the environmental crisis requires innovative approaches that go beyond mitigation of harm. These approaches will have to produce novel techno-social orders able to emancipate all types of nonhuman life, including animals and plants. Beyond life, future societies will have to value the agency of abiotic environments. The resulting orders should and can take the form of shared, more-than-human cultures and practices. Who can specify and bring forth such unfamiliar futures? Design disciplines claim the possession of unique knowledge practices for making, and implementing, successful plans. Such practical orientation can be very effective. For example, seeking to save money and energy, designers introduce outdoor LED lighting. LED lights are brighter and bluer than sodium and other lights. Unfortunately, their intensity and colour dramatically increase harmful environmental light pollution, a significant problem even before the development of LED technology. This type of adverse consequence is very common. Designers do not intend to cause harm, but their anthropocentric bias is hugely damaging. Evidence and analysis remain underused. Instead, designers prioritise technocratic approaches, overrate human ingenuity and overvalue human traditions. The anthropocentric bias underpins unjustifiable worldviews and motivates attitudes that might change on deeper consideration. The problem of light pollution is particularly vexing because it pits human preference for constant brightness against the nocturnal lifestyles of many organisms. If those organisms had a say in the design process, the negotiated outcomes would have to be different.

    To be relevant to the challenges of the future, design knowledge needs to engage with more-than-human concerns. Some approaches that aim to incorporate nonhuman issues are already emerging in multiple fields that consider issues in environmental and ecological justice. They include biocentric, ecocentric, geocentric and land ethics, astroethics, animal rights and the ethics of care. This issue aims to interrogate possible forms and implications of post-anthropocentric design knowledge. To this end, it invites evidence-driven research articles that engage with the full range of conceptual, scientific, political, social, economic, and technical aspects of design. The analytical frames can be historical, contemporary, or future-oriented. The editors hope to extend the conversation beyond the confines of professional or academic design-communities. Therefore, they welcome contributions from a broad range of disciplines. All forms of research that consider possible futures are welcome, including:

    • all design disciplines;

    • philosophy of science, engineering, information and computing;

    • environmental history;

    • environmental ethics and ethics of technology;

    • social and cultural studies of science, design and crafts practices;

    • science, including biology and ecology;

    • law and political studies;

    • environmental humanities, including animal and plant studies;

    • and others.

    The guest editors encourage authors to engage with the following questions:

    1. What will design knowledge be in the future? Is there a body of design knowledge distinct from the types of learning that are produced by humanities and sciences? Can the authors propose a possible definition? How does the inherently indeterminate character of complex systems frame the concept of design knowledge? Can future design combine everyday knowledge and traditional forms of human expertise with nonhuman knowhow?

    2. Which approaches will produce design knowledge? Does the production of design knowledge require distinct practices or research methods? What are the mechanisms of design-knowledge production? What approaches should be used to evaluate effectiveness of such knowledge? What regulation and funding should support the production and deployment of design knowledge? How should the acquisition of design knowledge respond to the more-than-human ethics of the future?

    3. Who or what will produce design knowledge? Who are the typical knowledge workers in design research? What training do they require? What are their goals? Can – or should – existing design stakeholders seek to reconfigure and expand design-knowledge communities and partnerships? Can nonhuman actors produce design knowledge?

    4. What will be the sites of design-knowledge production? Can design knowledge be produced outside of the disciplines, professions, and organizations of those who have the specific task of working with design in current economies? Should more individuals work with knowledge production in design than those who work with it today? Should the situations and time frames that produce design knowledge today shift to match the complex characteristics of interlinked and continuous planetary environments?

    5. Which approaches can support transmission and preservation of design knowledge? Is it possible to accrue design knowledge in a reliable, cumulative way? What conditions does this require? What artefacts, evidence, and storage mechanisms can support such processes? How should future designers encourage rigor, replicability, and reuse?

    6. Who will use design knowledge? Who consumes and pays for design knowledge? Who commissions this knowledge production and who stands to benefit? How do local, political, historical, and cultural circumstances affect the application of design knowledge? How should education or regulation direct the future use of design knowledge?

    7. How will design knowledge be useful? What is the value of design knowledge? What are the mechanisms of quality assurance? Where is it used? What are the possible roles of design knowledge in future decision making? The editorial team sees this topic as a substantial and ongoing challenge. Consequently, it plans to invite contributors to participate in an edited book collection and a long-term collaborative research project that will follow this issue of She Ji.

    About She Ji

    She Ji is a fully open-access journal published by Tongji University and Tongji University Press in cooperation with Elsevier. The journal is fully peer reviewed.

    She Ji encourages rich illustration. There is no limit on the number of images, charts, or diagrams in any article, and no limit on the use of colour. While we publish a small, high quality paper edition for authors and for exhibitions, most She Ji readers download articles direct from the journal web site. This makes it possible for She Ji authors to use as many images as an article requires. For the complete description, see the publisher’s website.

    Schedule

     

    March 5, 2019: Call for proposals

    up to 300 words, excluding references

    proposals are optional, but the editors encourage them as a way to open a dialog with the authors

    suggested structure of the proposals:

    •gap in current knowledge

    •research questions

    •hypotheses

    •research methods

    •research outcomes

    •discussion of the outcomes

    •future work 

    •submit via the email to: stanislav.roudavski@cantab.net 

     

    April 15, 2019: Proposals due

     

    May 15, 2019: Feedback to authors

     

    September 1, 2019: Full articles due

    •6,000-8,000 words (excluding footnotes, references, and captions)

    •it is permissible to submit an article without having previously submit-ted a proposal

    •submit via the journal’s web page

     

    November 1, 2019: Feedback to authors 

     

    January 31, 2020: Amendments due 

     

    April 30, 2020: Feedback to authors and final selection

     

    September 1, 2020: Publication

  • Call for Contributions - Footprint 26

    Dates: 18 Mar – 03 Jun, 2019

    The Call for Contributions for Footprint 26 is out now. Competition is key to the architectural profession. On a daily basis, practicing architects compete for the recognition of their ideas, new commissions, team approval, media attention, prizes and awards. In this sense, the architecture competition (understood as a contest of ideas or projects produced in response to a common call) is a perfect example of the practice of architecture. Authors like Tigerman (1989) and Reynolds (1996) have described notable competitions (like those for the Chicago Tribune Tower and the National Diet Building of Japan, for example) as drivers of historical change based on a succession of styles. More recent scholarly research has defined the architecture competition as a ‘professional institution, political event, and expression of taste’ (Lippstadt:1989) or as ‘fertile space for utopian experiment’ (Chupin: 2015). These latter interpretations open a line of inquiry that suggests that the production of knowledge fostered by architecture competitions is not a unidirectional process.

    This issue of Footprint will study different modalities of the architecture competition, and the ways in which the actors and stakeholders involved in them have collectively produced architecture knowledge. Authors are asked to examine the architecture competition as a productive site of negotiation and exchange, or ‘contact zone,’ as defined by comparative literature scholar Mary Louise Pratt. From the field of colonial studies, Pratt defines contact zones as ‘social spaces where cultures meet, clash and grapple with each other, often in highly asymmetrical ways.’ On these grounds, the architecture competition emerges as an open arena for debate between different architecture cultures that produce, in Pratt’s words, friction as much as ‘exhilarating moments of wonder, revelation, mutual understanding and new wisdom.’ From this perspective, the study of architecture competitions is essentially a study of exchange.

    Like other contact zones intrinsic to the profession – such as international architecture exhibitions, biennales, summer meetings and development aid programs – architecture competitions can be considered intense transcultural and transdisciplinary exchanges of architecture knowledge. As such, they have significantly affected the way architects have thought their profession. Recognizing the architecture competition as a contact zone should stimulate innovative reflections on the theory and methodology of architecture.

    Authors are encouraged to elaborate on the implications of appraising the architecture competition as a contact zone. This call especially welcomes case studies in which different actors and stakeholders (sponsors, judges, architects, media, public) have reciprocally exchanged knowledge, mutually affected each other and brought about new architectural developments. The immediate objective of this issue of Footprintis to distill the particular character and mechanisms that are fundamental to the contact zone of the architecture competition. In doing so, it simultaneously searches for an architecture historiography that transcends the static description of buildings, the work of single authors, and the unidirectional transfer of knowledge.

    Footprint 26 will be published in Spring 2020.

    This call is open for full articles (6000–8000 words) as well as for review articles (2000 – 4000 words) that offer important insight into the topic of architecture competitions as ‘contact zones’. Full articles must be submitted on Footprint’s online platform before 3 June 2019, and will go through a double-blind peer-review process. Authors interested in contributing review articles should contact the editors before 20 May 2019with an extended abstract of their proposal (500 words). The editors will select from the proposed review articles based on thematic relevance, innovativeness and evidence of an explorative academic level. A guide to Footprint’s preferred editorial and reference style is available at https://journals.open.tudelft.nl/index.php/footprint/about/submissions. Authors are responsible for securing permission to use images and copyrighted materials. For submissions and inquiries, please contact editors Cathelijne Nuijsink and Jorge Mejía at editors.footprint@gmail.com.

  • FOTOGRAFÍA Y ARQUITECTURA / Photography and Architecture

    Dates: 16 Mar – 30 Apr, 2019

    https://arquitectura.unam.mx/bitacora.html

    BITACORA ARQUITECTURA 41: PHOTOGRAPHY AND ARCHITECTURE

    Deadline: April 30, 2019. bitacoraunam@gmail.com / bitacora.arquitectura@unam.mx

    Ever since its invention, photography has been one of the most dynamic and versatile allies of architecture. The relationship between the two mediums has been productive for the construction of modern visual discourse. Even when the frozen instant seems to be in contradiction with movement, a quality praised by modernists, only photography can quickly and immediately capture architecture for mass dissemination, without which the modern movement would not have occurred.

    The potential of photography goes far beyond its documentary value. Even when it is insisted that it is not a transparent medium, it is often taken as a clear, objective representation of reality, which ignores its artistic character, among other aspects. Photographs create something apart from the buildings they supposedly document. Perceptions, effects, spatial constructions, opinions, utopian realities, manipulations and a long et cetera can be analyzed to better understand the mass reception of buildings.

    The avant-garde made photography into a new way of seeing, forcing the spectator to appreciate the world differently: a hyperperception of space that we are unable to comprehend naturally. Photographs of architecture construct illusions, atmospheres and particular spatial qualities, which operate in the perception of the environment constructed by the great majority of people who only know buildings through this medium.

    Architects need photography not just to represent their work, but also as visual evidence that secures their place at the world level. Nevertheless, it has become nearly impossible to consciously comprehend the constant torrent of images that assaults us on a daily basis, in which they lose all their meaning.

    https://arquitectura.unam.mx/bitacora.html

    BITÁCORA ARQUITECTURA 41: FOTOGRAFÍA Y ARQUITECTURA

    Fecha límite: 30 de abril de 2019: bitacoraunam@gmail.com/bitacora.arquitectura@unam.mx

    La fotografía, desde su invención, es uno de los aliados más dinámicos y versátiles de la arquitectura. La relación entre ambas ha resultado fructífera para la construcción del discurso visual moderno. Aun cuando el instante congelado parece estar en contradicción con el movimiento, tan apreciado por la modernidad, sólo la fotografía pudo aprehender de forma rápida e inmediata a la arquitectura, lista para su difusión masiva, sin la cual el movimiento moderno no hubiera ocurrido.

    El potencial de la fotografía va mucho más allá de su valor documental. Aunque se insiste en que no se trata de un medio transparente, se suele asumir como una representación clara y objetiva de la realidad, ignorando su carácter artístico, entre otros aspectos. Las fotografías crean algo diferente a los edificios que supuestamente documentan. Percepciones, efectos, construcciones espaciales, opiniones, realidades utópicas, manipulaciones y un largo etcétera, pueden ser analizados para comprender mejor la recepción masiva de los edificios.

    Las vanguardias hicieron de la fotografía una nueva forma de mirar y de forzar al espectador a apreciar al mundo de otra forma: una hiperpercepción del espacio que no somos capaces de concebir naturalmente. Las fotografías de arquitectura construyen ilusiones, atmósferas y cualidades espaciales particulares, las cuales operan en la percepción del entorno construido de la gran mayoría de personas que conocen los edificios únicamente a través de este medio.

    Los arquitectos necesitan la fotografía no sólo para representar su trabajo, sino como evidencia visual con la cual trascender y ubicarse en el ámbito mundial. Sin embargo, se ha vuelto casi imposible aprehender conscientemente el torrente de imágenes constante que nos asalta cotidianamente en el que pierden todo su significado. 


Driehaus_SH_Horizontal_RGB_275_100

SAH thanks The Richard H. Driehaus Foundation
for its operating support.
Society of Architectural Historians
1365 N. Astor Street
Chicago, Illinois 60610
312.573.1365
Copyright - (c) 2012