Recent Opportunities

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  • SHERA Emerging Scholar Prize - Call for Entries (Deadline: 15 October 2018)

    Dates: 21 Sep – 15 Oct, 2018

    The Society of Historians of Eastern European, Eurasian, and Russian Art and Architecture (SHERA) is pleased to announce the second annual call for submissions for the SHERA Emerging Scholar Prize. The award aims to recognize and encourage original and innovative scholarship in the field of East European, Eurasian, and Russian art and architectural history. The winner will be announced at the Society’s annual Business Meeting at ASEEES 50th Annual Convention scheduled for Friday, December 7, 2018, Boston, MA.

    Applicants must have published an English-language article in a scholarly print or online journal, or museum print or online publication within the preceding twelve-month period. For the 2018 prize, articles published between September 30, 2017 and September 30, 2018 are eligible. Additionally, applicants are required to have received his or her PhD within the last 5 years (2013 or thereafter for the 2018 prize) and be a member of SHERA in good standing at the time that the application is submitted. The winner will be awarded $500 and republication (where copyright allows) or citation of the article on H-SHERA.

    To apply, please email a CV including contact information (email, mailing address, and telephone) and a copy of the English-language article with header/colophon of the journal or catalogue together with a brief abstract to shera.prizes@gmail.com no later than October 15, 2018.

    To join or renew membership in the Society of Historians of East European, Eurasian, and Russian Art and Architecture (SHERA), please visit http://shera-art.org/membership/join-shera.php.

    Last year’s awardee was Prof. Christina E. Crawford of Emory University for her essay “From Tractors to Territory: Socialist Urbanization through Standardization.”
  • 2019 SAH Southeast Chapter (SESAH) Annual Conference

    Greenville | Dates: 09 – 12 Oct, 2019
    The 2019 annual conference of the Southeast Chapter of the Society of Architectural Historians will be hosted by Clemson University School of Architecture and held in Greenville, SC, at the downtown Hyatt Regency hotel, Wednesday, Oct. 9, 2019 — Saturday, Oct. 12, 2019. 
  • 2019 Rome Prize

    Dates: 20 Sep – 01 Nov, 2018

    For over a century, the American Academy in Rome has awarded the Rome Prize to support innovative and cross-disciplinary work in the arts and humanities. Each year, the prize is awarded to about thirty artists and scholars who represent the highest standard of excellence and who are in the early or middle stages of their careers. 

    Fellowships are awarded in the following disciplines:

    • Ancient Studies
    • Architecture
    • Design (includes graphic, industrial, interior, exhibition, set, costume, and fashion design, urban design, city planning, engineering, and other design fields)
    • Historic Preservation and Conservation
    • Landscape Architecture (includes environmental design and planning, landscape/ecological urbanism, landscape history, sustainability and ecological studies, and geography)
    • Literature (includes fiction, literary nonfiction, and poetry)
    • Medieval Studies
    • Modern Italian Studies
    • Musical Composition
    • Renaissance and Early Modern Studies
    • Visual Arts (includes painting, sculpture, drawing, photography, film/video, installation, new media, digital arts, and other visual-arts fields)

    Each Rome Prize winner is provided with a stipend, meals, a bedroom with private bath, and a study or studio. Those with children under eighteen live in partially subsidized apartments nearby. Winners of half- and full-term fellowships receive stipends of $16,000 and $28,000, respectively. Winners of the two-year fellowships receive $28,000 annually.

    Rome Prize winners are the core of the Academy’s residential community, which includes Affiliated Fellows, Residents, and Visiting Artists and Scholars.

    Owing to the fluctuating dollar/euro exchange rate and the high cost of living in Rome, the stipends offered may not cover all expenses. This is especially true for Rome Prize Winners who come to Rome with families. The American Academy in Rome welcomes spouses/companions and children of Rome Prize Winners. However, Fellows with families live in subsidized apartments for which they pay rent; they are also responsible for meals of family members. Thus they often incur expenses that exceed the Fellow’s stipend, so those wishing to bring their families are advised to supplement their stipends with additional funds.

    Full-term fellowships generally run from early September through the following June. Winners of half-term fellowships may indicate a preference to begin in September or February.

  • Rem Koolhaas: Current Preoccupations

    New York | Dates: 04 – 04 Oct, 2018

    Thursday, October 4, 6:00 p.m.
    The Museum of Modern Art

    In this lecture, organized in conjunction with the exhibition Toward a Concrete Utopia: Architecture in Yugoslavia, 1948–1980Rem Koolhaas discusses the production of socialist space and its impact on his own architectural practice. Koolhaas’s perspective is of particular interest because of his longstanding, if little known, interest in Yugoslav architecture. He first encountered Yugoslav architecture in Nigeria in the 1990s: over several trips to Lagos, he was impressed with the work of Energoprojekt, the Belgrade-based Yugoslav-state-operated construction and design firm. On the occasion of the exhibition at MoMA, which presents Energoprojekt’s Lagos Trade Fair complex as one of the key achievements of Yugoslav architecture, Koolhaas will reflect upon the firm’s enduring legacy, with particular attention paid to how their work changes the meaning of “turnkey architecture”—the process by which a single firm oversees every component of a building’s design and construction—which speaks to Koolhaas’s interest in the organization of labor in architectural offices. That he discovered Yugoslav architecture in Nigeria, where architects from Energoprojekt designed and built important cultural and government buildings in several cities, is a testament to the international networks of knowledge transfer and exchange provided by the Non-Aligned Movement abroad, a topic that will also be addressed in his talk.

    Koolhaas’s interest in Toward a Concrete Utopia is ultimately one component of his research preoccupations and built work in socialist, post-socialist, and post-colonial contexts. As such, he will also speak to how the sophistication of architectural production under state socialism in the 1970s and 1980s informs contemporary production.

    The lecture will be followed by a conversation with Martino Stierli, The Philip Johnson Chief Curator of Architecture and Design, and guest curator Vladimir Kulić, organizers of the exhibition.

  • Urban Intermedia: City, Archive, Narrative

    Cambridge | Dates: 20 Sep – 14 Oct, 2018

    “Urban Intermedia: City, Archive, Narrative,” the culmination of a four-year investigation funded by the Andrew W. Mellon Foundation, argues that the complexity of contemporary urban societies and environments makes communication and collaboration across professional boundaries and academic disciplines essential. Four research projects, focused respectively on Berlin, Boston, Istanbul, and Mumbai, use a range of technologies to bring physical and digital media—archival documents, digital data sets, photography, cartography, architectural drawings, graphics, text, animation, film, and video—into dialogue and registration with each other. The media hybridize, exchange properties and techniques, and generate new “intermedia” languages—and, with them, new ways of acquiring and producing knowledge about cities. Projected onto screens, the visual narratives they construct tell their stories though the materials of the research themselves without written or verbal narration, leaving them open to multiple readings and the interactive construction of meaning with viewers of the exhibition.

    In spring 2018 the exhibition was presented in Berlin, Istanbul, and Mumbai. The Boston installation of “Urban Intermedia” expands and reflects upon the process of research by highlighting archival materials from Boston-based collections related to race, space, and power in the city’s development. A 33-foot-long meeting table will serve as an active site of research and exchange over the course of the exhibition—a place for hosting small lectures, class sessions, and discussions around the display of archival media.

    “Urban Intermedia” is curated by Eve Blau and Robert Gerard Pietrusko with installation design by Höweler + Yoon Architecture.

  • Panel Discussion: The McCormick House and the Bauhaus Dream of Pre-Fabricated Homes

    Elmhurst | Dates: 27 – 27 Oct, 2018

    Elmhurst Art Museum
    150 S. Cottage Hill Ave, Elmhurst, IL 60126
    Saturday, Oct. 27
    1 - 3 pm

    After recent restorations of the McCormick House, one of only three single family homes in the U.S. designed by Mies van der Rohe, scholarly panelists will assemble to shed new light on its importance, linking new research to the 100th anniversary of the Bauhaus—a legendary German school where Mies was the final Director. Scholars such as Barry Bergdoll, Robin Schuldenfrei, and Wolf Tegethoff will connect Mies van der Rohe's projects in Europe to the U.S.; the dream of prefab in the U.S. after several key German figures arrived in America (Mies, Breuer, Gropius, Wachsmann, and others); Mies van der Rohe's collaboration with urban planner Ludwig Hilberseimer; general discussions about prefab designs; and more. 

    This program is part of the Year of Germany-American Friendship initiated by the German Federal Foreign Office and the Goethe-Institut, and supported by the Federation of German Industries (BDI).

  • CFP: June 2019 Entanglements in the Early Modern Mediterranean

    St. Louis | Dates: 20 Sep – 15 Dec, 2018

    Entanglements in the Early Modern Mediterranean at The Seventh Annual Symposium on Medieval and Renaissance Studies, Saint Louis University, St. Louis, MO, USA, 17-19 June 2019

    Our present society is tightly connected: people, goods, information, and technology traverse the global community at remarkable speed, creating a complex web of relationships, or “entanglements,” that cross political, social, cultural, and economic boundaries. Such intricacies also existed in the early modern Mediterranean, particularly with the augmented personal contact and increased exchange of knowledge, culture, and commodities, set against conflict between rising states and hardened religious boundaries. Over the last few decades, historians have increasingly focused upon these entanglements, highlighting the complexity of life, both “in and of” the Mediterranean.

    We are organizing panels that accentuate

    complexities or “entanglements” in the early modern Mediterranean. We are especially interested in paper and panel proposals that focus on science/medicine, economy, and religion, not only the historical entanglements but also the interaction of these topics methodologically. Additional ideas are welcome for consideration.

    Please send title (15-word maximum), abstract (150-word maximum), three keywords, and one-page CV to the panel organizers, Beth Petitjean (beth.petitjean@slu.edu) and Dru Swadener (dru.swadener@slu.edu) by December 15, 2018.

  • CFP: The Avery Review

    Dates: 20 Sep – 31 Dec, 2018

    The Avery Review seeks out reviews and critical essays on books, buildings, and other architectural media, broadly defined. Our essays are typically 2,500-4,000 words in length. We ask that all essays have some object of review at their core (whether book, building, project, or idea), and that authors engage with the work of others rather than addressing their own design or scholarly work. We like stylish, concise, and accessible writing, and we invite our contributors to experiment with tone and format as suits their topic. Most of all, we hope to publish pieces that are consequential and earnestly felt. We also welcome responses to the essays that have already been published.

    We pay our authors $400 for all published essays. The Avery Review is committed to publishing a diverse range of voices, especially those contributing to the collective rewriting of a discipline that has long kept difference in its margins, to the benefit of dominant voices who have too long held the center. We welcome authors who illuminate architecture's blind spots, who oppose its many complicities, who resist its production of norms and its participation in spatial violence—and who champion a more open, more equal built environment.

    Whether a pitch for a review or a long-form think piece, we welcome your thoughts—with the simple request that they critically engage the work of someone else. Please send all submissions, queries, and comments to editors@averyreview.com

    We’re eager to hear what our readers are thinking about, and in the spirit of spurring public conversation, here are a few things that have been on the editors’ minds (and which we’d enjoy receiving pieces about): 

    ABOUT THE AVERY REVIEW

    The Avery Review is an online journal dedicated to thinking about books, buildings, and other architectural media. We see the genres of the review and the critical essay as vital but still underutilized ways of exploring the ideas and problems that animate the field of architecture, and we hope to push these genres beyond their most familiar forms, whether journalistic or academic. Our aim is to explore the broader implications of a given object of discourse (whether text, film, exhibition, building, project, or urban environment), to expand the terrain of what we imagine architectural discourse to be, and to broaden the diversity of voices that our field typically hears from. We are interested in reviews that test and expand the reviewer’s own intellectual commitments—theoretical, architectural, and political—through the work of others. The Avery Review will publish new essays monthly during the academic year.
  • Heritage Emergency and Response Training (HEART)

    Washington | Dates: 10 – 14 Dec, 2018

    Dates: December 10–14, 2018
    Place: Washington, DC
    Application deadline: October 9, 2018

    Organized by: Smithsonian Cultural Rescue Initiative (SCRI) and FEMA’s Office of Environmental Planning & Historic Preservation (OEHP), co-sponsors of the Heritage Emergency National Task Force (HENTF)

    With generous funding from: The Andrew W. Mellon Foundation

    In 2017 SCRI hosted the inaugural Heritage Emergency and Response Training (HEART) for 25 participants selected from a range of museums, libraries, archives, and emergency management organizations representing 21 states and the Territory of Puerto Rico. In March and June of 2018, HENTF brought HEART to Puerto Rico and the U.S. Virgin Islands, respectively. Previously, SCRI has also successfully supported and hosted this type of training for international participants as part of its six-year partnership with ICCROM and the Prince Claus Fund for the First Aid for Cultural Heritage in Times of Crisis (FAC) training program.

    With funding from The Andrew W. Mellon Foundation, HENTF has created this training opportunity for U.S.–based professionals to gain skills and experience in disaster response for cultural heritage. HEART combines the important principles of the internationally recognized FAC training model with context-specific information for a U.S. audience. The goals are to improve U.S. disaster response at the institutional level, strengthen existing networks, and connect participants to the wider international “First Aider” network of people trained to document and protect cultural heritage in times of crisis. Participants will learn to be proactive yet sensitive to human needs, respectful of local context, and, after completing their training, ready to support measures to protect cultural heritage in their own communities.

    The Training Structure

    The course consists of three parts. Accepted applicants will be required, before the start of the program, to complete FEMA’s online course “Introduction to the Incident Command System (ICS 100),” as well as selected pre-course readings. Participants will travel to Washington, DC, for a week of hands-on training at the Smithsonian Institution from December 10–14, 2018. Sessions will provide realistic, hands-on training in damage assessment, rapid documentation, emergency evacuation and salvage, rehousing and storage, crisis communication, team building, and more. In 2019, a five-part webinar series will build upon the in-person training, reinforcing concepts covered in the December training.

    Expected Outcomes
    At the end of the training, participants will be able to:

    • Assess and manage risks to cultural heritage in emergency situations
    • Explore the values associated with cultural heritage and the impact that disasters (natural and man-made) have on these values
    • Improve existing disaster plans at their organization or agency, or on behalf of other organizations or agencies
    • Take preventive actions to reduce disaster risk and improve response
    • Secure, salvage, and stabilize a variety of cultural materials
    • Train and manage a response team to implement effective actions during crises that affect cultural heritage
    • Communicate successfully with the various actors, including the media, involved in an emergency response
    • Identify relevant programs and services that can assist cultural heritage organizations in the event of a disaster
    • Understand how first aid for cultural heritage supports recovery in affected communities and how it fits into the National Planning Frameworks

    Travel, Accommodations, and Living Expenses

    There is no fee for participating in this training. Thanks to generous support from The Andrew W. Mellon Foundation, lodging expenses for all selected participants will be covered. Lunch will be provided during the in-person training; however, participants will be expected to cover the rest of their meal costs, all incidental expenses, and local travel. Please note that participants will also be expected to cover travel to and from DC. SCRI has limited travel funds available to subsidize travel costs; you will be able to request an amount once selected for the program.

    Who should apply?

    Selection of participants will be made on a competitive basis. The course team will select 25 participants from cultural heritage and first responder/emergency management organizations or agencies who work in the United States, U.S. territories, or Indian Country. Since the successful recovery of heritage collections is based on collaboration among many different types of professionals, the goal of HEART is to train a group with diverse backgrounds. Therefore both cultural heritage professionals and first responder/emergency management professionals are encouraged to apply for the training.

    We seek heritage professionals who:

    • Work at or for a cultural heritage institution that has a disaster plan for collections and that supports training in disaster planning/cultural heritage protection;
    • Might have previously faced an emergency situation that called for an immediate response to safeguard cultural heritage, whether at their own institution or assisting another;
    • Are emerging leaders with 3–5 years’ experience in collections care/cultural heritage protection; and/or
    • Are actively engaged in professional or heritage-related associations.

    We seek first responders and emergency managers who:

    • Might have responded to an emergency situation that called for an immediate response to safeguard cultural heritage;
    • Are motivated to increase their knowledge of the concerns and priorities of cultural stewards;
    • Are eager to share what they learn at this training with their colleagues; and/or
    • Want to bolster their understanding of how cultural heritage can help communities recover and become more resilient following a disaster, and how their collaboration with cultural stewards contributes to this effort.
  • New York's Housing Crisis: Which Way Forward?

    New York | Dates: 03 Oct, 2018

    What are the political, social, and economic forces shaping the future of housing in New York City and globally? How do we negotiate the ideals of development and community preservation, between maintaining affordability and attracting a larger tax base, and between the free market and government intervention? Economist Edward Glaeser, author of Triumph of the City, joins sociologist Miriam Greenberg for a spirited exchange of ideas -- moderated by WNYC reporter Matt Katz.

    Exhibition viewing of the Museum's Future City Lab to follow.

    This is the opening event in our new series, Housing Tomorrow's City,which explores the challenges and opportunities presented in the Museum's Future City Lab, the interactive third gallery in the New York at Its Core exhibition. To view all of the programs in the series, click here.

    About the Speakers:
    Edward Glaeser is the Fred and Eleanor Glimp Professor of Economics in the Faculty of Arts and Sciences at Harvard University. He received his PhD from the University of Chicago and his work has since focused on the determinants of city growth and the role of cities as centers of idea transmission. Glaeser's books include Cities, Agglomeration, and Spatial Equilibrium (Oxford University Press, 2008), Rethinking Federal Housing Policy (American Enterprise Institute Press, 2008), and Triumph of the City (Penguin Press, 2011).

    Miriam Greenberg is a professor of sociology at the University of California Santa Cruz. She is the author of Branding New York: How a City in Crisis was Sold to the World (Routledge, 2008) and Crisis Cities: Disaster and Redevelopment in New York and New Orleans (Oxford, 2014) and co-edited The City is the Factory: New Solidarities and Spatial Tactics in an Urban Age (Cornell, 2017). Since 2013, she has been directing the Critical Sustainabilities project and, since 2015, she has been co-organizing No Place Like Home, a project on the affordable housing crisis in Santa Cruz County.

    Matt Katz (moderator) reports on air at WNYC about immigration, refugees, and national security. Katz formerly covered New Jersey Governor Chris Christie for more than five years. In 2015, he and a team from WNYC won a Peabody Award for their coverage of Christie and the Bridgegate scandal. 

    $25 for Adults | $20 for Students, Seniors, and Educators (with ID) | $15 for Museum Members
    Includes Museum admission.

  • CFP: Scaffolds, "Open encounters with Society, Art & Architecture"

    Brussels | Dates: 20 Sep – 05 Oct, 2018

    International Symposium
    Brussels, 22-23 Nov 2018
    CFP deadline extended to October 5

    Two events organized in synergy, providing the chance to link an academic event with a day of lectures and discussion open to the broader public.

    The symposium aims at creating a place for sharing and discussion on research in architecture and urbanism, artistic practice and studio pedagogy. It does so by reflecting upon epistemological and cognitive strategies and tools used in understanding and shaping our space, from the immediate human body and its extensions to the territory. As such, the symposium proposes to explore theoretical, practical and ethical connections that link our ways-of-knowing with the ways-of-doing to be desired for a common future.

    The overall theme “Scaffolds – Open Encounters” seeks to enable constructive dialogue between disciplines, educators, students, practitioners, researchers, educational bodies, local communities and curating institutions. The symposium is organized by ALICE lab, an architectural design and research unit at the École Polytechnique Fédérale de Lausanne, with the collaboration of Metrolab Brussels (ULB-UCL), the Research Laboratory for Architecture Theory and the Philosophy of Technics at the Technische Universität Wien, the Chair of Public Building from the Faculty of Architecture and Built Environment of the Technische Universiteit Delft; and The Faculty of Architecture of KU Leuven.

    Taking place in the privileged space of the former Yser Citroën garage and generously hosted by CIVA / KANAL – Centre Pompidou, the symposium aspires to foster future collaboration between different stakeholders and participants.

    We encourage the participation of researchers, educators and practitioners from architecture and urbanism, the humanities, artistic research as well as philosophy, psychology and social sciences. The symposium is open to the participation and attendance of people from any field and academic discipline who might see their ideas overlap the proposed themes. Additionally, we encourage the participation of artists and researchers working on art-based research.

    The symposium will combine keynote lectures, presentation and discussion of individual researches in three open tracks (open to contribution in the form of article presentations), three curated panels, transversal workshops on emerging questions of interest together with some selected artistic interventions.

  • Catherine W. Bishir Prize

    Dates: 21 Sep, 2018 – 01 Feb, 2019

    CALL FOR NOMINATIONS—BISHIR PRIZE

    Does your work contribute to the study of vernacular architecture and cultural landscapes?  Have you published a scholarly article on the subject in the last two years? You may be eligible for the Catherine W. Bishir Prize from the Vernacular Architecture Forum.

    The 2019 Bishir Prize, named for longtime VAF member and influential scholar Catherine W. Bishir, will be awarded to the scholarly article published in a juried North American publication between January 1, 2017 and December 31, 2018 that has made the most significant contribution to the study of vernacular architecture and cultural landscapes. Articles considered for the prize should be based on primary research, break new ground in interpretation or methodology, and contribute to the intellectual vitality of these fields. Entries may come from any discipline concerned with vernacular architecture studies.

    Please note that essays published as chapters in a book are also eligible if the volume is peer-reviewed, published within the time parameters specified, and the research presented in the essay is new. Anthologized collections are not eligible.

    The deadline for nominations for the 2019 Bishir Prize is February 1, 2019.

    To nominate an article please submit the following:

    • MS Word document providing contact information, publication data (name of book publishing company or title of journal, and date of publication), and a brief statement contextualizing the author(s) and article.
    • PDF copy of the article

    Nomination materials should be submitted to Dr. Margaret Grubiak at bishirprize@vafweb.org. For more information, visit: http://www.vernaculararchitectureforum.org/Bishir-prize
  • Research Fellowships at the Harry Ransom Center

    Austin | Dates: 15 – 15 Nov, 2018

    The Harry Ransom Center at The University of Texas at Austin invites applications for its 2019­-2020 research fellowships. 

     Ten dissertation fellowships and up to 50 postdoctoral fellowships will be awarded for projects that require substantial on-site use of its collections. The fellowships support research in all areas of the humanities, including literature, photography, film, art, the performing arts, music, and cultural history.

     The deadline for applications, which must be submitted through the Center’s website, is November 15, 2018, 5 p.m. CST. Applicants, with the exception of those applying for dissertation fellowships, must have a Ph.D. or be independent scholars with a substantial record of professional achievement.

     The fellowships range from one to three months, with stipends of $3,500 per month. Travel stipends and dissertation fellowships provide stipends of $2,000. International fellows receive an additional $500 stipend to offset visa and travel costs. Applicants will be notified of decisions on March 31, 2019.

     Fellowship residencies may be scheduled between June 1, 2019, and August 31, 2020. During the fellowship, scholars will work on-site at the Ransom Center in Austin, Texas.

    Fellows will become part of a distinguished group of alumni. Since the fellowship program's inauguration in 1990, the Ransom Center has supported more than 1,200 research projects.



    For details and application instructions, visit: hrc.utexas.edu/fellowships
  • REVISITING THE POST-CIAM GENERATION: debates, proposals and intellectual framework

    Porto | Dates: 11 – 13 Apr, 2019

    REVISITING THE POST-CIAM GENERATION: debates, proposals and intellectual framework - international conference

    April 11-13, 2019

     

    Issued by
    Architectural Studies research group - Axis: Strong Relations
    CEAA | Centro de Estudos Arnaldo Araújo [Arnaldo Araújo Research Center]
    of Escola Superior Artística do Porto, Portugal

    In August 1956, Jose Luis Sert opened the Congrès Internationaux d’Architecture Moderne (CIAM 10), held in Dubrovnik, by reading the well-known message of Le Corbusier in which he justified his absence by claiming the existence of a generational tension. Indeed, the doctrinarian values of modernism — such as functionalism, scientific progress, and rational social planning — that once drove the congress were challenged by a group of young architects and resulted in the emergence of new perspectives. Yet, this “generation” was far beyond from being a homogeneous group both in conceptual and geographical terms.

    In Portugal, immediately after that moment, the magazine Arquitectura completely redefined its editorial structure, starting a new edition in early 1957. Gathering a young group of architects, art historians, and critics of art and cinema, this magazine furthered the questions launched at CIAM, thus debating the duties and role of the critic, and scrutinizing the “strong relation” (Vieira de Almeida, 2012) between theory, criticism, history and architectural design.

    Some of the actors and the narratives they shaped in this moment of change are widely known in architectural studies. However, the distinct manner of intellectual appropriation and critical reception of this debate in a transnational perspective is a matter that should be re-examined. How was the debate reabsorbed by architectural criticism in different geographical areas? What was its actual impact on the mechanisms of mediation as well as on the profile of the agents of criticism?

    This symposium intends to address these questions. The aim is to examine, in a comparative view, the ways in which the same debate was received, discussed and disseminated in different regions, on one hand; and to understand how this moment contributed to a rethinking of the relation between architectural practice and critical production, on the other.

    We welcome papers that offer new insights on the topic by exploring themes such as: the circulation of ideas and the contribution of different regions to the 1960s and 1970s architectural culture; the relation between architecture and political engagement; the interaction between theoretical-critical production and architectural design; the mechanisms and strategies of dissemination (journals, books, manifestos, movies, documentaries, etc.); the introduction of concepts from other fields of knowledge and the inclusion of social sciences in architecture writing; the critical analyses of the historiography produced on the period.

    We welcome proposals for 20-minute presentations in English, which should include:

    Title of the proposal Applicant’s identification (name, institution, country, position and email) Abstract (up to 300 words) Short curriculum vitae (up to 100 words)
    Proposals must be sent in Word (.doc format) by email to ceaa.g1.e2@gmail.com

    Important dates:

    Deadline for abstract submission – September 28, 2018
    Notification of acceptance of abstract – October 19, 2018
    Deadline for full paper submission – January 7, 2019
    Papers review – February 11, 2019
    Final full paper submission - March 18, 2019
    Deadline for Registration – March 18, 2019
    Conference – April 11-13, 2019

    More information at the conference website https://post-ciam-generation.weebly.com/

  • SKYLINE

    New York | Dates: 14 Sep, 2018 – 28 Feb, 2019

    Now open at The Skyscraper Museum, a ground-breaking exhibition devoted to the invention and evolution of Manhattan’s skyline, past, present, and future. SKYLINE examines the emergence of the collective image of the skyline as the brand identity of New York, but also distinguishes five periods in which new buildings take characteristic forms based on economic, technological, and regulatory factors. The exhibition traces the overarching story of Manhattan’s high-rise growth from small to tall, and taller. Cycles of boom and bust created the crowded clusters of Downtown and Midtown and today energize both geographies such as Hudson Yards and a new typology of super-slender residential towers. Popular culture items such as early 20th-century postcards, souvenirs, magazines, and movies, as well as architectural models, photographs, and renderings trace the changes in both the conception of and physical form of the city over time.


    The exhibition illustrates how Manhattan grew a skyline before writers found a word for it. The earliest skyscrapers, office buildings of ten stories, rose near City Hall Park in 1874. It was a full two decades later that a burst of towers of twenty stories, 300 feet or taller, truly transformed the city’s image. Located especially along Broadway in lower Manhattan, they composed a profile visible from both rivers. By 1900, this early period of invention had produced more than 100 office buildings of ten or more stories.

    In the second era of the skyline’s development, 1900 to 1916, the scale of buildings increased dramatically. From 1908 to 1916, lower Manhattan saw a series of record-breaking towers. With the absence of any regulatory constraint on height or form, skyscrapers could cover every inch of their lot and, in theory, rise to unlimited height. In practice, they were limited by a “form follows finance” formula of the necessity of good light from large windows and by the goal of earning the highest percentage of return on the money invested. In this laissez-faire environment, the demand for the best locations created the tall, high-value corridor of Broadway and shaped the mound of buildings that crowded into the blocks around Wall and Broad streets and surrounding City Hall Park.

    The third era of the skyline, from 1916 until the early 1960s, was defined by the characteristic setbacks and slender towers produced by the requirements of the city’s first zoning law. The regulations sculpted skyscrapers into ziggurats and pyramidal bases with slender tower shafts. Skyscrapers grew taller, rising Downtown to between 50 and 71 stories and crowded on and near Wall Street, representing the peaks of land values in that area.

    The modernist skyline of glass towers – the fourth era of the skyline ­– began in the postwar years and especially with the passage in 1961 of a new zoning law. Stepped pyramids and tall, thin towers were replaced by a new formula that set a maximum floor area (FAR) for the lot. Architects designed variations of pure rectangular volumes enveloped by a glass curtain wall.

    The year 2000 would have been the convenient date to mark a new phase of the skyline, but the events of September 11, 2001 made “before and after” a clear line. The destruction of the Twin Towers led many to claim that the era of tall buildings was over. Yet, in addition to the rebuilding at Ground Zero, only a decade after 9/11, supertall and super-slender towers were on the rise. In the fifth era and current era, an even taller and more vertical skyline is appearing above that of the 20th-century city.


    SKYLINE is the first “primer” to organize New York’s nearly 150 years of Manhattan’s high-rise development into significant periods of building shapes and urban form. Together with the parallel project on the Museum’s website (https://www.skyscraper.org/skyline), which includes all the graphics and texts in the exhibition, as well as the innovative interactive “sliders,” SKYLINE offers visitors a way to read urban history in the collective image and identity of the world’s first and greatest skyscraper city.

     
  • John Jager: A Slovenian Architect in Minnesota

    Minneapolis | Dates: 26 – 26 Sep, 2018

    Wednesday, September 26, 7:30 pm at Augsburg University

    Hagfors Center 150, 700 21st Avenue South, Minneapolis

    Known to us for his design of the Church of St. Bernard in St. Paul, his early city planning work in Minneapolis, and his collaborations with William Gray Purcell and E. H. Hewitt, John Jager had a long and interesting career in Minnesota, from his 1902 arrival until his death in 1959.

    Educated in Vienna in the 1890s, Jager worked in Europe and Asia before coming to Minneapolis. His fascinating life is chronicled in materials at the Northwest Architectural Archives and especially in an extensive collection sent to Slovenia by Selma Jager about fifty years ago.

    Professor Nadja Zgonik will discuss Jager’s early work and the Slovenian archive, including interesting views of a number of Minnesota projects.
    Dr. Zgonik is visiting the Twin Cities as part of an exchange program with Augsburg University.

    Co-sponsored by Augsburg and the Minnesota Chapter of the Society of Architectural Historians

    Free and open to the public

    Parking is available at the University of Minnesota ramp at 21st Ave. S. and 4th Street.  Street parking may also be available.  

  • Architect/Artist Creative Collaborations: An Evening with Architect Mark Sexton

    Chicago | Dates: 02 Oct, 2018

    Thinking into the Future: The Robie House Series on Architecture, Design and Ideas

    Tuesday, October 2
    Cocktail Reception: 5 pm, Presentation: 6 pm
    Reva and David Logan Center for the Arts, University of Chicago

    The expressiveness of its glass facade distinguishes Spertus Institute for Jewish Studies from its neighbors in a 19th century landmark district dominated by giants of architecture – including Louis Sullivan and Daniel Burnham. The building's designers, Chicago-based firm Krueck + Sexton Architects, use modern materials to "paint" a structure in a way that its appearance changes continually throughout the day due to shifts in time, perspective and weather.

    Join us as Krueck + Sexton co-founder Mark Sexton discusses the firm's projects such as Spertus Institute and the iconic Crown Fountain in Chicago's Millennium Park – and the coupling of art and technology in 21st century architecture. 

  • History & Precedent in the Design Process

    Pittsburgh | Dates: 13 – 26 Sep, 2018

    This is a call for paper proposals to a panel at the American Collegiate Schools of Architecture (ACSA) conference in Pittsburgh, PA on Mar. 28-30, 2019. Submissions due Sept. 26, 2018. For more details and submissions, see: http://www.acsa-arch.org/programs-events/conferences/annual-meeting/107th-annual-meeting/call-for-papers

    This panel titled "History & Precedent in the Design Process" asks about the changing role that history and precedents take in the design process and the core of architecture, both in the academy and the profession, in beginning and advanced work, past and present.

    Schools continue to teach traditional precedent studies, even as we profess that the world in which we build is dominated by accelerating change. Typology and program, based on precedents, remain central in justifying design decisions for many buildings, even as we acknowledge that functions rarely last as long as constructions. After being central during Postmodernism, and then sidelined during the turn to pragmatism and the digital in the beginning of the 21st century, some say “history is back,” though surely different than before. Many recent publications proclaim the ever-increasing importance of history for contemporary discourse and practice. Architects are finding innovative ways to engage history: as a driver for design, as a way to rethink materials and site, even as a research methodology. In a world ever-more obsessed with contemporaneity, progress, new technologies, and the future, and with neoliberalism, efficiency theories, and pragmatism posing ever greater challenges to the humanities and history, architecture remains remarkably bound to the past.

    We are interested in papers that challenge or validate the dominant methods for precedent study such as those proposed by Colin Rowe or Roger Clark. We seek case studies on new ways that history has been pulled into the design process, especially processes featuring the newest design, computation, and fabrication tools. We invite theoretical discussions about how cutting-edge design sensibilities focused on ideas such as sustainability, emergence, or complexity incorporate or supplant existing historicist ideologies that presume history’s clear connection to the future. We are curious about how an emphasis on “design principles” and “formal abstraction” based on precedents poses challenges to technologies and techniques that promote precision and uniqueness in building design and construction. We invite all manner of papers that scrutinize and speculate on how history and precedents might take on a different role today than in the past.

  • Tour: A New Look for the Newberry Library's First Floor with Ann Beha, FAIA

    Chicago | Dates: 27 – 27 Sep, 2018

    Come see what's new at the Newberry Library! The needs of researchers have changed dramatically, and so have the ways in which the public uses libraries and other cultural institutions. As technology changes and the expectations among patrons evolve, renovating its first floor is essential to providing visitors with new pathways into the Newberry’s collection. To achieve these goals, the library wanted a more welcoming environment: an accessible entrance at the front door, a welcome center; permanent exhibition gallery; redesigned galleries for temporary, thematic exhibitions; expanded bookstore; a lounge area; and flexible spaces for public programs, and event rentals. The renovation was designed by Ann Beha Architects of Boston, a firm with extensive experience updating cultural institutions while staying true to the historic legacies of their buildings. Bulley & Andrews LLC is the contractor.

    Construction began in January 2018, and the renovated floor opens on September 26, followed by the opening of the library’s next major exhibit, Pictures from an Exposition: Visualizing the 1893 World’s Fair, on September 28. 

    Meet at 8:45 am outside the library entrance, and the tour will begin at 9:00 am sharp.

    Our tour will be led by:

    • Ann Beha Architects - Ann Beha, FAIA; Steven Gerrard, AIA; Ian Miller, AIA
    • Bulley and Andrews - Mike Lemmons, Project Executive; Glenn Pierce, Senior Project Manager; Jay Quinn, Superintendent
    • Newberry Library - David Spadafora, President and Librarian

    SPONSORED BY

    AIA Chicago and Newberry Library

    LEARNING UNITS

    1 LU/HSW

    MEMBER PRICE

    $0.00

    NON MEMBER PRICE

    $15.00
  • Harvard GSD's 2019 Richard Rogers Fellowship

    London | Dates: 11 Sep – 28 Oct, 2018

    Open to accomplished practitioners and scholars working in fields related to the built environment; application deadline October 28, 2018

    Harvard University Graduate School of Design (GSD) announces the 2019 cycle of the Richard Rogers Fellowship, a research-focused residency program based in London at the Wimbledon House, designed by Lord Richard Rogers in the late 1960s. Each of the six selected fellows receives a three-and-a-half-month residency at the Wimbledon House, as well as round-trip travel expenses, a $10,000 USD cash stipend, and unique access to London’s extraordinary institutions, libraries, practices, professionals, and other resources. The deadline for applications for the 2019 cycle is October 28, 2018.

    Now entering its third cycle, the Richard Rogers Fellowship thus far has welcomed 12 fellows from around the world to London and the Wimbledon House. Fellows have researched a diverse series of topics, including examinations of public and affordable housing; how food and cooking transform cities; and citizen-driven urban regeneration initiatives, among others.

    “From property guardianship to large-scale prototyping of urban environments, the diversity of subjects taken up by the 2018 cohort of fellows is extraordinary, and the way they propose to engage their projects with London is very exciting to see,” says Mohsen Mostafavi, Dean of Harvard GSD and member of the Fellowship Selection Committee. “We look forward to the second year of this important program, and are eager to witness the consequences of this research.”

    The Richard Rogers Fellowship activates Rogers’s historic Wimbledon House as a site of collaborative investigation for researchers and practitioners into topics that have been central to Rogers’s life and career, including questions of urbanism, sustainability, and how people use cities.

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