Recent Opportunities

ACSA: Call for Papers:

Theory's Rise and Fall: Contexts and Conditions

Joseph Bedford, Virginia Tech

The rise and fall of theory in the culture of architecture since the 1960s is still primarily understood in mythic terms and is yet to be satisfactorily historicized or theorized in ways that grasp the contexts and conditions of architectural theory in this period.

One current myth of theory tells of its birth in 1966 with the twin publication of Robert Venturi’s Complexity and Contradiction and Aldo Rossi’s Architecture of the City; of its maturation in the founding of institutes such as the IAUS and its journal Oppositions in the early 1970s; and of its death with the closing of Assemblage in 2000 and the supposed ascendency of history over theory marked by the publication of theory anthologies and the launch of Greyroom. Yet, understanding the rise and fall of theory only in such mythical terms, fails to grasp the underlying conditions for theory’s fate.

This session seeks papers that attempt to re-historicize and re-theorize theory’s rise and fall through analyses of broader cultural, economic, sociological, political, institutional and disciplinary conditions and that, in doing so, aim to challenge current mythologies surrounding architectural theory between the 1960s and the present.

Papers might, for example, address the “rise” and/or “fall” of theory by seeking to revise our understanding of how the conception, production or culture of post-1960s architectural theory related to economic cycles of boom and bust; to shifts between demand-side and supply-side economic policies; to ideological struggles between Communism and Capitalism; to the last decades of the cold war and its end; to cultural developments in consumerism, media, popular culture and youth culture; to struggles for civil rights, the women’s movement, and national liberation; to the post-war expansion of the university; to the growth of architecture as a university discipline and the professionalization of intellectual work in architecture schools through the burgeoning of PhD and MA programs; to the influence upon Anglo-American Universities of continental philosophy from Germany and France; to the shifting position of intellectuals in public life or of the humanities within the university; to the domestication of theory through the widespread establishment of “intro theory” classes in architecture curricula from the 1990s; to the transformation of the figure of the “neo-avant-garde” critical architect into the globalized “star architect”; to shifting conditions of production in writing and practice brought about by personal computing and the internet.

Above all, the session welcomes schematic papers that seek to re-historicize and re-theorize, in broad brushstrokes, the arcing narrative of the recent “rise and fall” of theory, with the ambition of challenging current mythologies of theory through deeper analysis of its conditions. The ultimate ambition of this session is to stimulate work that aims to better comprehend the fate and future of architectural theory.

 

Paper Submission Deadline: September 26, 2018

Apply through the ACSA website:

http://www.acsa-arch.org/programs-events/conferences/annual-meeting/107th-annual-meeting/call-for-papers

 

 

 

The Humanities Connections program seeks to expand the role of the humanities in undergraduate education at two- and four-year institutions. Awards will support innovative curricular approaches that foster productive partnerships among humanities faculty and their counterparts in the social and natural sciences and in pre-service or professional programs (such as business, engineering, health sciences, law, computer science, and other technology-driven fields), in order to encourage and develop new integrative learning opportunities for students.

Competitive applications will demonstrate

• that the proposed curricular projects address significant and compelling topics or issues in undergraduate education at the applicant institution(s);

• that these projects develop the intellectual skills and habits of mind cultivated by the humanities; and

• that faculty and students will benefit from meaningful collaborations in teaching and learning across disciplines as a result of the project.

Humanities Connections projects have four core features:

1. integration of the subject matter, perspectives, and pedagogical approaches of two or more disciplines (with a minimum of one in and one outside of the humanities);
2. collaboration between faculty from two or more separate departments or schools at one or more institutions;
3. experiential learning as an intrinsic part of the curricular plan; and
4. long-term institutional support for the proposed curriculum innovation(s).

Humanities Connections grants are funded at two levels: Planning and Implementation.

Implementation grants (up to three years) support the interdisciplinary collaboration of faculty from two or more separate departments or schools (a minimum of one in and one outside of the humanities), with the implementation of a sustainable curricular program or initiative as the outcome. Implementation grant proposals must show unambiguous evidence of preceding planning work and present a defined rationale with clear intellectual and logistical objectives that are supported by institutional commitment. The award gives applicants the opportunity to build on faculty/administrative or institutional partnerships and to develop and refine the project’s intellectual content, design, and scope. For example, the applicant should be able to demonstrate potential commitments of any partners or collaborators; outline preferred approaches to curriculum building/consolidation; and explain outreach strategies that will be employed to attract students to the new educational opportunity.

The Humanities Connections program seeks to expand the role of the humanities in undergraduate education at two- and four-year institutions. Awards will support innovative curricular approaches that foster productive partnerships among humanities faculty and their counterparts in the social and natural sciences and in pre-service or professional programs (such as business, engineering, health sciences, law, computer science, and other technology-driven fields), in order to encourage and develop new integrative learning opportunities for students.

Competitive applications will demonstrate

• that the proposed curricular projects address significant and compelling topics or issues in undergraduate education at the applicant institution(s);

• that these projects develop the intellectual skills and habits of mind cultivated by the humanities; and

• that faculty and students will benefit from meaningful collaborations in teaching and learning across disciplines as a result of the project.

Humanities Connections projects have four core features:

1. integration of the subject matter, perspectives, and pedagogical approaches of two or more disciplines (with a minimum of one in and one outside of the humanities);
2. collaboration between faculty from two or more separate departments or schools at one or more institutions;
3. experiential learning as an intrinsic part of the curricular plan; and
4. long-term institutional support for the proposed curriculum innovation(s).

Humanities Connections grants are funded at two levels: Planningand Implementation.

Planning Grants (up to twelve months) support the interdisciplinary collaboration of faculty from two or more separate departments or schools (a minimum of one in and one outside of the humanities), with the goal of designing a new, coherent curricular program or initiative. The award gives the institution(s) the opportunity to create a firm foundation for implementing the program. Planning goals will include identifying the members of a planning committee and organizing the planning process; defining the rationale, design, and structure that would undergird a comprehensive and institutionally sustainable effort; and establishing potential scenarios for curriculum development. Institutions may draw on current short-term initiatives or curricular programs run by individual departments in this effort. The outcome of a successful planning phase should be a project in, or ready for, the implementation stage.

Building-Object/Design-Architecture: Exploring Interconnections     

A conference jointly supported by the Design History Society, the European Architectural History Network, and the Architecture Space and Society Centre (Birkbeck).

6-8 June 2019, Clore Business School (Birkbeck), London

“I think that cars today are almost the exact equivalent of the great Gothic cathedrals: I mean the supreme creation of an era, conceived with passion by unknown artists, and consumed in image if not in usage by a whole population which appropriates them as a purely magical object.” Roland Barthes, 1957 

This two-day conference will explore old, new and future interconnections between Design History and Architectural History. It will address the disciplines’ shared historiography, theory, forms of analysis and objects of critical enquiry, and draw attention to how recent developments in the one can have significant implications for the other. It will attend to areas of difference, in order, ultimately to identify new areas for discussion and set future agendas for research between the disciplines.

The distinction between design history and architectural history is to some extent an artificial one, given the many ties between designed objects and designed spaces as well as between those who design and make the former and those who design and make the latter, but it follows certain disciplinary and professional developments. These are manifest, for instance, in the separate existence of the Design History Society and the European Architectural History Network, two of the sponsors of this conference.

In one art historical tradition – Kunstwissenschaft, or the critical history of art – the objects of design and architecture (as well as fine art objects) which are now usually separated out as requiring specialist study, were considered of equal significance and requiring equal attention. It was this tradition that provided some of the founding figures for both present-day design history and present-day architectural history – Semper, Riegl, Panofsky, Pevsner, among them. (Even later figures like Reyner Banham might be understood as displaced products of this tradition.) And the separation of expertise was also largely alien to the connoisseurial and antiquarian traditions. We can understand the turning away from these traditions of interdisciplinarity as an inevitable effect of emergent disciplinary identities as much as of worked-out theories. But there are untapped residues as well as new developments that may prove fertile ground for collaboration. What are we learning about materialities, about globalising perspectives, or about new forms of writing, for instance, that may benefit both disciplines? Furthermore, does the very separation of design and architectural history distort or falsely dichotomise their objects? Can their co-existence be worked into current rubrics for interdisciplinarity, or do older co-disciplines disqualify themselves?

We invite proposals for individual papers (of 20 minutes length) in any area that productively engages with the aims of the conference and we would especially like to see papers in the following areas:

Historiographic entanglements and coincidences

Everyday environments

Ornament from object to building (and back)

Use/maintenance/dereliction

Objects on exhibition/buildings on exhibition

Micro to macro - macro to micro

Representations/representing

Tactility-virtuality

Interiors/exteriors

Deadline for Abstracts– 15 November 2018

Abstracts (maximum 500 words). Papers will not be accepted that have already been accepted for another conference, or that have been published or accepted for publication.

Abstracts, with a two page CV, should be sent to –  arts-building-object@bbk.ac.uk

DEADLINE – OCTOBER 29, 2018   

The Vernacular Architecture Forum (www.vafweb.org) invites paper proposals for its 38th Annual Conference, Landscapes of Succession, May 29 to June 1, 2019 in Philadelphia, PA. Papers may address vernacular and everyday buildings, sites, or cultural landscapes worldwide. Submissions on all relevant topics are welcome but we encourage papers focusing on different layers of settlement and use over time, exploring agriculture, maritime activities, industrialization, urbanization, suburbanization, as well as themes such ethnic identity, religious expression, and the creation of vacation and recreation landscapes.  Additionally, the VAF is launching a multi-year program of inquiry into the distinctiveness of the VAF and the vernacular architecture movement. To this end, we encourage papers that consider this field over time. How does the wide range of VAF projects (tours, guidebooks, book and article awards, field schools, annual conference papers, publications, etc.) demonstrate how our questions, concerns, and methods have changed and evolved?  Where do we see evidence of that history in our current work, and what might our future look like? Proposals might focus on a particular building type (i.e. houses, barns), a research strategy (fieldwork), political or theoretical convictions (Gender, Marxism, the Everyday, etc.), or particular approaches to presenting our work and engaging colleagues and the public.

Students and young professionals may apply for the Pamela H. Simpson Presenter’s Fellowships offering support of up to $500 to presenting papers at VAF’s annual conference.

SUBMITTING AN ABSTRACT

Papers should be analytical rather than descriptive, and no more than twenty minutes in length. Proposals for complete sessions, roundtable discussions or other innovative means that facilitate scholarly discourse are especially encouraged.  At least one session will be devoted to Field Notes – shorter papers (five to eight minutes in length) that introduce new techniques, innovations, and discoveries in documenting vernacular buildings and landscapes.  Proposals should clearly state the argument of the paper and explain the methodology and content in fewer than 400 words.  Make sure to indicate if it is a regular paper proposal or a shorter fieldwork proposal or intended for the VAF distinctiveness session.  Please include the paper title, author’s name, email address, a one-page c.v.  You may include up to two images with your submission. Note that presenters must deliver their papers in person and be VAF members at the time of the conference. Speakers who do not register for the conference by March 4, 2019, will be withdrawn. Please do not submit an abstract if you are not committed to attending the papers session on Saturday, June 1, 2019.

THE DEADLINE FOR PROPOSALS IS OCTOBER 29, 2018

The abstracts and c.v. should be emailed as a PDF attachment to the VAF Papers Committee Chair, Melissa McLoud at papers@vafweb.org. For general information about the Philadelphia conference, please visit the conference website at http://www.vafweb.org/Philadelphia-2019 or contact Michelle Weaver Jones, VAF Conference Planner, conference@vafweb.org.

All abstracts received will be acknowledged.

 

PAMELA H. SIMPSON PRESENTER’S FELLOWSHIPS

VAF’s Pamela H. Simpson Presenter’s Fellowships offer a limited amount of financial assistance to students and young professionals presenting papers at VAF’s annual conference. Awards are intended to offset travel and registration costs for students, and to attract developing scholars to the organization. Any person presenting a paper who is currently enrolled in a degree-granting program, or who has received a degree within one year of the annual conference is eligible to apply. Awards cannot exceed $500. Previous awardees are ineligible, even if their status has changed. Recipients are expected to participate fully in the conference, including tours and workshops.

To apply, submit with your abstract a one-page attachment with "Simpson Presenter’s Fellowship" at the top and the following information: 1) name, 2) institution or former institution, 3) degree program, 4) date of degree (received or anticipated), 5) mailing address, 6) permanent email address, 7) telephone number, and 8) paper title.

ACERCA DEL TALLER

En 1935, el artista uruguayo Joaquín Torres García invirtió el mapa de América del Sur argumentando la necesidad de un punto de vista “desde el Sur.” Pensando con Torres García, este taller propone reunir a historiadores de la arquitectura latinoamericana para discutir acerca de la enseñanza de una historia global de la arquitectura desde el punto de vista de la región. La historia de la arquitectura latinoamericana presenta oportunidades y desafíos particulares para un acercamiento global e interconectado. Creemos que nuestra historia siempre ha sido global: desde los primeros habitantes de las Américas hasta los desafíos contemporáneos de su narrativa histórica. Sin embargo, este carácter transnacional ha sido limitado por ideologías nacionalistas, períodos prolongados de aislamiento de sus países, y falta de recursos entre otros aspectos. Este taller busca ir más allá de estos límites y crear un espacio de conversación para discutir los desafíos y oportunidades de la enseñanza de la historia de la arquitectura en Latinoamérica desde un punto de vista global—es decir, un acercamiento que refleje las múltiples conexiones de la región. Hemos escogido reunirnos en Quito, Ecuador, debido a su centralidad simbólica y geográfica y la confluencia del SAL XVII y la XXI BAQ. Invitamos a participar a profesores de Historia de la arquitectura de Latinoamérica de cualquier país de las Américas. Los participantes deben tener un mínimo de tres años de experiencia como profesores a cargo de curso, a fin de estar familiarizados con las estructuras curriculares y expectativas institucionales. El grupo final será de aproximadamente doce profesores escogidos en base a la mayor diversidad de regiones y épocas de especialización.

FINANCIAMIENTO

Este taller será parcialmente financiado por la beca Global Connections Fellowship del Global History of Architecture Teaching Collaborative. La beca cubrirá costos de viaje hasta un máximo de USD 700, dos noches de alojamiento en Quito en una hostería para todo el grupo, comidas, y dos paseos arquitectónicos por la ciudad.

PARA PARTICIPAR

Enviar un correo electrónico antes del 24 de Septiembre incluyendo un CV de tres páginas, e  indicando afiliación institucional, temas de interés, y cursos que enseña a:

Fernando Luis Martínez Nespral, Universidad de Buenos Aires, fmnespral@gmail.com
Ana María León, University of Michigan, amlc@umich.edu

This exhibition at the Vittoriano in Rome has been organised by the Polo Museale del Lazio in association with the RIBA and the British School at Rome. The exhibition brings together a carefully selected set of images from the many thousands that the RIBA holds of the city of Rome, from its landscape to close archaeological detail, co-curated by RIBA Photographs Curator Valeria Carullo, Dr Marco Iuliano of the University of Liverpool and Vittoriano director Gabriella Musto.

These photographs of Rome, selected from the thousands within the RIBA Collections, are divided into four complementary sections: Antiquity, Modernity, Urban Landscapes and Atmospheres. The selection of photographs and their arrangement in sequences, suggested by visual analogies, are intended to stimulate appraisal through the construction of a timeless narrative.

The photographers featured include James Anderson, Tim Benton, Richard Bryant, Ralph Deakin, Ivy and Ivor de Wolfe, Richard Pare, Monica Pidgeon and Edwin Smith. Their images date from the birth of the medium to the present day.

BOTTOM-UP SOCIAL CHANGE: Materials | Buildings | Community
June 6-8, 2019  |  Las Vegas, NV
Co-Chairs: Elizabeth Golden, University of Washington 
Joshua Vermillion, University of Nevada, Las Vegas 

The American Institute of Architects (AIA) and the Association of Collegiate Schools of Architecture (ACSA) are pleased to announce a partnership dedicated to the INTERSECTION of Education, Research and Practice. Through a series of educational sessions at the 2019 AIA Conference in Las Vegas, we will feature exemplary research projects which address issues related to our Symposium theme:  BOTTOM-UP SOCIAL CHANGE: Materials | Buildings | Community.

How does bottom-up social change inform the sorts of spaces that we create and how we occupy them? How is architecture and public space informed by social engagement and grass-roots activism? How are materials deployed in these spaces to encourage (or discourage) safe and inclusive social interactions?

How does bottom-up social change inform or transform the way we practice and/or conduct research? Are there novel decision-making models (during the planning, design, or constructions processes) that are local, democratic, and participatory? What are the goals of such models and how is success measured? Are there other disciplines that we can learn from or should be engaged to facilitate these inclusive and participatory models?

How does bottom-up social change scale up? What larger trends or phenomena emerge from a series of small, bottom-up interventions? Can systems thinking help us understand these scalar cause and effect relationships?

Applications for the 2019 Getty Library Research Grants are now available online at

http://www.getty.edu/foundation/initiatives/residential/library_research_grants.html

Getty Library Research Grants provide partial, short-term support to researchers of all nationalities whose projects demonstrate a compelling need to use Getty Research Institute materials, and whose place of residence is more than 80 miles from the Getty Center in Los Angeles.

In addition to the open call for applications relating to projects utilizing any specific area of the GRI's collections, several focused grants will be awarded in the following areas of study:

--Research related to the modern commercial art market.

--Research related to Los Angeles modern architecture, or design.

--Research in the area of 18th-century German art, particularly as it relates to the religious, philosophical, and aesthetic contextualization of the Romantic movement.

--Research that utilizes the Conservation Collection, specialized research materials related to the preservation and conservation of material cultural heritage.

The deadline to submit an application is October 15, 2018.

Please contact GRI Library Reference with any questions:

reference@getty.edu

About the Project

The Canadian Centre for Architecture is launching a collaborative and multidisciplinary research project on architecture’s complex developments in sub-Saharan African countries after independence. This project asks, first, how to understand architecture’s historical role in decolonization, neocolonialism, globalization, and their manifestations across the continent, at local and regional scales; and, second, how this understanding can challenge established methods and disciplinary conventions of architectural and urban studies.

The CCA solicits proposals for research projects that will address crucial but unresolved historiographical questions of architecture in postcolonial Africa, arising from the transnational, multidirectional complexities of the new world order created around the idea of the Global South in the second half of the twentieth century.

With funding from The Andrew W. Mellon Foundation, the CCA will direct an eighteen-month project to analyze and historicize the ways in which architecture manifests transformations in post-independence African countries, potentially tracing these processes back to colonial periods. The grants will support original, case-based research on concrete projects, actors, architectural typologies, key geographies, or urban developments that explore the history of architecture’s agency in sub-Saharan Africa.

Applicants may propose projects that complicate Africanist, global, and postcolonial approaches to architectural history. Projects addressing cases that cannot be contained within a post-independence periodization and the sub-Saharan context will still be considered. Collective projects are also welcome, but responsibilities and roles must be clearly defined. 

The collaborative and multidisciplinary research project is open to researchers, journalists, practitioners, and cultural producers from architecture history and other relevant disciplines. Those interested should submit a proposal in English or French through our online application portal by 31 October 2018.

Applications must include a project outline based on clearly defined cases (750 words); a synopsis locating the proposed research within larger narratives on architecture’s concerns and connections on the African continent and beyond (500 words); a video statement about the project (2 minutes); a bibliography of key literature and of pertinent holdings in the CCA Collection or other archives, or an outline for a different research methodology and fieldwork practice, such as oral history (2 pages maximum); a CV (5 pages maximum); and a bio that highlights the applicant’s previous engagement with their subject and existing professional networks on the African continent that may be instrumental in carrying out the project (500 words).

For more on the project, including information on possible themes, the selection process, and the CCA Mellon Multidisciplinary Research Program, please visit cca.qc.ca/centringafrica.

Culture Lab Detroit’s 2018 program, The Crisis of Beauty, will host luminary artists, critics, curators, architects, and scientists for a series of discussions about how their work harnesses, rejects, informs or complicates the aesthetic precept of beauty. Beauty's elusive ability to be defined masks its influence on nearly all aspects of our lives. This program aims to explore how beauty intersects with multiculturalism, the intricacies of gentrification, gender politics, and unbounded assimilation of technology to offer novel or previously suppressed perspectives.

The National Humanities Conference brings together humanities practitioners and scholars to explore how to deepen the public’s engagement with the humanities. This year’s conference in New Orleans, during the city’s 300th anniversary, will draw attention to the many ways local communities are integrating the humanities into public life.

Conference programming will include sessions on using the tools of the humanities to understand threats to our natural environment, engage thoughtfully with moments of historical commemoration, and bridge divides between diverse communities. We will also explore new pedagogical approaches that engage students at the college level.

We are particularly delighted to welcome National Book Award winner Jesmyn Ward to deliver the Capps Lecture on Friday, November 9.

Event Details:

New Orleans, Louisiana
Thursday, November 8th – Sunday, November 11th, 2018

Explore Barcelona and Bilbao, two cities renowned for their history and culture, where striking modern architecture stands side-by-side with centuries of tradition.

Synonymous with the work of visionary architect Antoni Gaudí, and once home to the greatest artist of the 20th century, Pablo Picasso, Barcelona pulses with artistic energy born from a rich Catalan heritage. Explore Gaudí’s singular vision, through key buildings including Casa Batlló, La Pedrera (contemporary to Wright’s Prairie masterpiece, the Robie house), and the architect’s unfinished masterpiece, La Sagrada Familia. In addition, visit historic and contemporary landmarks including the magnificent Gothic Catedral de Barcelona, and Mies van der Rohe’s iconic Barcelona Pavilion.

From Barcelona we travel overland—stopping for a night in the desert— to Bilbao, an important center for international design innovation. The city’s crowning masterpiece is Frank Gehry’s Guggenheim Museum, the spiritual successor to Wright’s 1959 Guggenheim in New York. Works by pivotal modern Spanish architects, including Santiago Calatrava and Juan Coll-Barreu, and international luminaries such as Norman Foster and Zaha Hadid combine to make the city a destination like no other. From Bilbao, tour the picturesque vineyards of La Rioja, and enjoy gourmet cuisine, brilliant wines, and cutting-edge architecture against the backdrop of the majestic Cantabrian Mountains.

With exclusive behind-the-scenes access, expert guides, and curator-led tours, immerse yourself in Spanish culture on this inspiring nine-day program.

The Arts and Crafts movement not only influenced Frank Lloyd Wright, but also shaped the work of Wright’s contemporaries in Europe and Great Britain. Enjoy exclusive access and curator-led tours of buildings and collections that represent the very best of the British Arts and Crafts movement.

The tour begins in London with a visit to the Victoria and Albert Museum; the William Morris Gallery, the only public gallery devoted to Morris’ life and work; and Red House, Morris’ Arts and Crafts home.

Then travel to the Cotswolds, where the Arts and Crafts movement flourished during the late 19th and early 20th centuries. In the beautiful Lake District, glide across Lake Coniston on a Victorian-era steam engine boat to Brantwood, the home of the great Victorian critic and writer, John Ruskin, and explore significant buildings by C. F. A. Voysey and M. H. Baillie Scott.

The tour will conclude in Glasgow, birthplace of Charles Rennie Mackintosh, an early progenitor of the Modern movement. Glasgow has an enviable portfolio of internationally renowned museums and galleries.

While his contemporaries looked to Europe for inspiration, it was the enigmatic culture of Japan that cast its spell on the young Frank Lloyd Wright. Ever since the 1890s, when Wright first encountered Japanese art and architecture in Chicago, he longed to see the country itself. And from 1905 to 1922, he traveled there seven times while designing a total of fourteen projects, including the Imperial Hotel.

Travel in the architect’s footsteps and into the heart of Japanese culture, discovering what Wright loved about Japan and the ideas from “that great East” which proved influential throughout his career. Fall in love with Japan, as Wright did, on this 11-day, 10-night journey.

Discover Tokyo, Nagoya, Kyoto, Kobe, Hiroshima and so much more. See masterpieces of contemporary architecture while taking part in traditional cultural experiences on this immersive, experiential journey. Savor regional cuisine, receive a Shinto blessing, participate in a tea ceremony, meditate on Zen Buddhism, soak in hot springs and stroll tranquil gardens, all during the long, sunny days of May.

Join the Trust on Tuesday, October 2 for an evening with architect Mark Sexton at the University Club of Chicago.

Co-founder of the Chicago-based firm Krueck + Sexton Architects, Mark Sexton is the 2018 speaker for the annual program, Thinking Into the Future: The Robie House Series on Architecture, Design, and Ideas. Sexton will present on nearly forty years of the firm’s iconic architecture and consider the significance and role of art in projects and the future of the firm’s work.

In recent years, Krueck + Sexton completed work on restorations of two Ludwig Mies van der Rohe masterworks: the 860-880 Lake Shore Drive apartments and Crown Hall at the Illinois Institute of Technology, home to the College of Architecture. Some of the firm’s most prominent projects can be found in downtown Chicago, including the award-winning Crown Fountain at Millennium Park and the Spertus Institute of Jewish Studies.

Tickets are $20 for Frank Lloyd Wright Trust members/University of Chicago alumni, faculty and staff/AIA Chicago members, $25 Non-members, $5 Students.

Continuing education credit: AIA/CES 1 LU

Purchase yours today: https://flwright.org/thinkingintothefuture

“Creative Chicago: An Interview Marathon” will be the first US-based marathon by Hans Ulrich Obrist, Artistic Director of London’s Serpentine Galleries, and one of the world’s leading curators, critics, and art historians. In 2005, Obrist hosted his first interview marathon—a 24-hour conversational exploration of art, ideas and creativity. The marathon format has become a central part of his practice ever since.

“Creative Chicago” will take a multi-dimensional, multidisciplinary look at creativity in the city—past, present, and future. Bringing together artists, authors, activists, architects, historians, musicians, philosophers and scientists, the “Creative Chicago” marathon will examine the numerous sparks that make the city a center for art, design and architecture. 

Current participants include:

• Amanda Williams, Artist
• Art Green, Artist
• Barbara Kasten, Artist
• Brandon Breaux, Artist
• Cauleen Smith, Artist
• Dawoud Bey, Photographer
• Eddie Bocanegra, Organizer/Activist
• Eula Biss, Writer
• Eve Ewing, Writer/Visual Artist
• Fatimah Asghar, Poet
• Gerald Williams, Artist
• Jeanne Gang, Artist
• Joseph Grigely, Artist/Art Historian
• Louise Bernard, Museum Director, Obama Presidential Center Museum
• Shani Crowe, Artist/Performer
• Stanley Tigerman, Architect
• Theaster Gates, Artist
• Tim Samuelson, City Historian
• And more to be announced.

The Chicago Humanities Festival will present this four-hour interview marathon as part of Art Design Chicago at Navy Pier in collaboration with EXPO CHICAGO 2018.

Industry + Architecture: national narratives/international forces

Fabrications: The Journal of the Society of Architectural Historians, Australia and New Zealand invites papers for a special issue (Vol. 29, No. 2) on Industry + Architecture edited by Anoma Pieris and Mirjana Lozanovska. Papers are due by 10 October 2018. See below.

Complex and mechanised, industrial architecture altered the aesthetic and cultural landscape of places. It also contested the normative divisions between structure, form and ornament. This issue of Fabrications seeks to explore the nexus between industry and architecture by raising a broad range of questions regarding the aesthetic, social and political impact of industrial processes, construction practices, labour and materials on built environments directly linked to industry. It asks how industrialisation has modified our experience of urban and rural spaces and seeks knowledge of its continuing and residual affects. This issue is interested in the role of industry in constructing and contesting the differential map of modernisation across the geopolitical world; in the colonial and transnational dimensions of industrial architecture including the cultures that it produced,  and other unprivileged social environments that have evolved due to industry. It is interested in !

 the legacy of industrial architecture, and its place in heritage discourse.

This issue anticipates papers on the architectural histories of colonial industrial spaces and landscapes with their asymmetrical labour relations, postwar nation-building, including immigrant networks associated with industry, and postcolonial national developments. It is particularly interested in the interface of histories of modernisation and histories of industry, including export architecture during Cold War political contestation, and its impact on the developing world and newly formed nations. It is also interested in the soft industrial environments of neo-liberal economic expansion.

We seek examples from a broad range of industrial sectors including agriculture, mining, transportation, military, and heavy industry that engage architectural expertise in complex and unorthodox ways. We are interested in historically specific well-researched case studies as well as comparative and theoretical framings of industry and architecture. We encourage contributions that include peripheral, rural and remote environments, urban environments, non-elite practices and populations, and gritty ephemeral spaces that are typically excluded from architectural histories. We are particularly interested in, but not limited to, contributions on the histories of industrial architecture in Australia, New Zealand and the broader Asia Pacific region. Studies of industrial complexes, worker housing, high tech and offshore manufacturing environments are also welcome.

Guidelines for Authors

Papers should be submitted online at  www.edmgr.com/rfab<http://www.edmgr.com/rfab>  by the due dates identified above.

The Editors consider essays of 7000 to 9000 words (including foot notes). Papers should be submitted as Word documents. Authors should use the footnote function of Word, but no automatic footing programs such as Endnote. Papers should be submitted with an abstract (200 words) at the beginning of the paper and a brief author biography (80 words), images and image captions. Abstracts are published at the beginning of papers. All papers published in Fabrications are blind peer-refereed by two readers.

Instructions for authors can be found on the Taylor & Francis website here:

http://www.tandfonline.com/toc/rfab20/current

Proposals for reports or for reviews of books, exhibitions and other events of interest to the membership of SAHANZ can be made to the Reviews Editor, Farzaneh Haghighi  [f.haghighi@auckland.ac.nz].

 

Image Specifications

For the refereeing process, please submit low-resolution images of illustrations as separate files {or embedded in a separate pdf file with captions} (72dpi jpeg files).  Once a paper is accepted for publication, high-resolution images should be submitted as 300 dpi tiff files, at a minimum of 100mm wide with a separate list of captions indicating permissions.

Authors are responsible for securing all permissions and paying all fees to reproduce images in Fabrications. Authors must meet UK copyright regulations. For information, see: http://journalauthors.tandf.co.uk/preparation/permission.asp

Frascari Symposium IV
The Secret Lives of Architectural Drawings and Models
From Translating to Archiving, Collecting, and Displaying

Organised by the Department of Architecture and Landscape, Kingston School of Art

June 2019