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At the center of SAH Celebrates is the Charnley-Persky House (1891–1892), a National Historic Landmark and a Chicago Landmark designed by Louis Sullivan with assistance from Frank Lloyd Wright, that serves as SAH headquarters. SAH Celebrates highlights the importance of fostering a supportive community whose efforts ensure the stewardship of architectural gems like the Charnley-Persky House.

Proceeds benefit the ongoing maintenance and care of the Charnley-Persky House and SAH's educational programs and publications, including SAH Archipedia and  Buildings of the United States.

T. Gunny Harboe, FAIA
Founder, Harboe Architects

Michelangelo Sabatino, PhD
Professor, Director of Ph.D. Program in Architecture, Inaugural John Vinci Distinguished Research Fellow, Illinois Institute of Technology

Laurence O. Booth, FAIA
Booth Hansen Architects
 
Rebekah Coffman
Chicago History Museum
 
Stuart Cohen, FAIA
Cohen-Hacker Architects
 
Thomas M. Dietz

Jaeger Nickola Kuhlman & Associates

Alison Fisher
Art Institute of Chicago

Scott Fortman
Institute of Classical Architecture and Art, Chicago-Midwest Chapter

Keith Goad
The Keith Goad Group, Berkshire Hathaway Home Services Chicago
 
Chandra Goldsmith
IIT CoA Board of Advisors
 
Barbara Gordon
Frank Lloyd Wright Building Conservancy
 
Eleanor Gorski
Chicago Architecture Center
 
Stuart Graff
Frank Lloyd Wright Foundation
 
Julie Hacker, FAIA
Cohen-Hacker Architects
 
Sarah Herda
Graham Foundation
 
Harry Hunderman, FAIA
Wiss, Janney, Elstner Associates, Inc
 
Lisa Key
Driehaus Museum
 
Nancy and Thomas Klein
SAH Chicago Chapter
 
Thomas Leslie
University of Illinois at Urbana-Champaign
 
Jen Masengarb
AIA Chicago

Bonnie McDonald
Landmarks Illinois
 
Justin Miller
Docomomo US/Chicago
 
Ward Miller
Preservation Chicago
 
Heather Hyde Minor
University of Notre Dame
 
Keith N. Morgan, FSAH
SAH Past President
 
Sarah Rogers Morris
University of Illinois at Chicago
 
John K. Notz Jr.
SAH Benefactor Member
 
Keith Olsen
Olsen Vranas Architects

Abby Persky
Chicago, IL  

Laurie Petersen
Charnley-Persky House Board Member
 
Charlie Pipal
School of the Art Institute of Chicago
 
Deborah Slaton
Wiss, Janney, Elstner Assocites, Inc.

Chris-Annmarie Spencer, AIA, NOMA
AIA Chicago Foundation
 
Cynthia Vranas
Mies Van der Rohe Society
 
Cynthia Weese, FAIA
Weese, Langley, Weese Architects and Charnley-Persky House Board Member
 
Ernie Wong
Commission on Chicago Landmarks

Download the prospectus for information about sponsorship and advertising opportunities. Please contact Ben Thomas at 312-573-1365 if you have questions.

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  • Fellowship Reports

On Layering: Surviving Angaur

March 13, 2024
  • Fellowship Reports

On Territory: Extractive Sovereignty and Australian Empire

January 19, 2024
  • Member Stories

Member Stories: Krista Reimer

January 12, 2024

Events

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  • Whither Criticism?

    A webinar series featuring six acclaimed critics discussing the current state of architectural criticism, and criticism's role in addressing the major crises of our time.

  • Visiting Faculty Fellowships in Design for Spatial Justice - University of Oregon

    The University of Oregon in Eugene and Portland, Oregon invites applications for Visiting Faculty Fellowships in Design for Spatial Justice at the rank of assistant, associate, full, or professor of practice in the areas of architecture, landscape architecture, interior architecture and historic preservation in the School of Architecture & Environment in the College of Design. The School of Architecture & Environment will award up to six faculty fellowships in design/research and teaching for durations of two terms to three years, to start as early as September 2021. Each fellow will be expected to teach one or two courses per quarter (five courses per year) and to contribute to scholarship and public programming.

  • Call for Bibliographic References to Expand "Women in Architecture Bibliography"

    The SAH Women in Architecture​Affiliate Group and SAH WiA AG Registers Committee invite submissions of bibliographic references, new or absent in the initial edition of the SAH Women in Architecture Bibliography. Contributors will be recognized in Acknowledgements. We invite references to expand: – The list of BOOKS authored/edited BY WOMEN, who are architectural and art historians, educators, curators, critics, other protagonists in our profession. – The list of BOOKS ABOUT WOMEN’s CONTRIBUTION to the built environment integrating works in broader diversity, border- and cross-disciplinary studies, covering various geographies, and areas relevant to understanding and teaching the subject. – The list of THESES ABOUT WOMEN’s CONTRIBUTION to the discipline. – The list of BOOKS/THESES, following the same logistics, published in languages other than English. NO DEADLINE! Subject Line: WiA Bibliography 2023; Format: Word doc. / Chicago Manual of Style 17th edition The SAH Women in Architecture Bibliography is a comprehensive project in-progress of the SAH Women in Architecture Affiliate Group, a groundbreaking effort to document and recognize the essential role women have played in the creation of the built environment, from practicing architects, urban, landscape, and interior designers, to artists and craftsmen, to the many scholars who have informed, advocated, and educated through their publications, exhibitions, and numerous public and private programs around women in architecture. While there have been bibliographies and collections developed on the topic, no effort has been made to organize a major inclusive database of books and theses about the contribution of women to the built environment. These efforts of the SAH Women in Architecture Affiliate Group have just launched, and the initial open e-access edition containing c. 1,100 titles has been published online in July and in August 2021. The Society of Architectural Historians and the SAH WiA AG are committed to creating the bibliography that will lead current and future generations of professionals to the core literature of inclusive, powerful writings by and about women in the integral field of architecture.

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Sep 16, 2020
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Visiting Faculty Fellowships in Design for Spatial Justice - University of Oregon
Sep 06, 2021
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Feb 02, 2023

News

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SAHARA Highlights: Pattern

Jan 22, 2024 by SAHARA Co-Editors Jacqueline Spafford and Mark Hinchman, and Associate Editor Jeannine Keefer

For many eras, the use of pattern was not controversial, but an integral part of building. Other periods found the use of pattern highly problematic, and either avoided it or used it to take a philosophical position—as an ironic touch or an artistic statement. Patterns can be abstract geometries or representational based on natural forms. Two ways of looking at pattern were central to 19th-century debates. One viewpoint holds that pattern is integral and seems to spring from its materials. In another scenario, it is applied and masks its material host, as applied surface ornamentation. Many 19th- and 20th-century architectural theorists grounded their individual philosophies by considering the differences between ornament and ornamentation.

SAHARA does not have many photographs of textiles, wallpapers, or other materials. When photographing your subjects, consider building material details. As we start the new year, include among your resolutions to make a contribution to SAHARA.

To see more SAHARA content: sahara.artstor.org/#/login
To learn more about contributing, visit: sah.org/sahara

Unknown Creator, Tomb of Akbar, Sikandra, Uttar Pradesh, India, 1605–1614. Photograph by Elisabeth Braun, 2005. Akbar was one of the most important leaders of the Mughal Empire and his architectural works were many. This is a sandstone and marble masonry pattern from his tomb.

Robert Venturi and Denise Scott Brown, Lewis Thomas Laboratory, Princeton University, Princeton, New Jersey, 1986. Photograph by Lauren Soth. Venturi and Scott Brown were two of the most prominent architects associated with postmodernism, and one of their design provocations was their selective use of pattern.

Louis Sullivan, National Farmers’ Bank, Owatonna, Minnesota, 1906. Photograph by Ana Esteban-Maluenda. Throughout Sullivan’s career, he paid careful attention to detailing his projects, often coaxing vegetal forms into beguiling geometries, here made from brick, tile, and terracotta.

Frank Lloyd Wright, Unity Temple, Oak Park, Illinois, 1909. Photograph by Ana Esteban-Maluenda. Wright worked for Sullivan, and his attention to decorative detail shows what he learned and how he took American design in new directions. This is stained glass from one of his most famous projects.  

Unknown Creator, Alhambra, Granada, Spain, 1201–1400. Photograph by Reuben Rainey, 1993. Islamic decorations are often augmented with Arabic inscriptions.  

Unknown, Mausoleum of Harun-I-Vilayat, Isfahan, Iran, 1512–1513. Photograph by Marie Ullens de Schooten. The photographer was married to a Belgian diplomat. Her photographs, taken during the period 1951–1972, were given to the Aga Khan Program at Harvard University, an institutional contributor to SAHARA.

Frank Furness, Pennsylvania Academy of Fine Arts, Philadelphia, Pennsylvania, 1871–1876. Photograph by Lauren Soth. In this view, the Academy looks firmly in the Gothic Revival camp, but other parts of the building make clear that Furness drew from a variety of stylistic precedents.

Arata Isozaki, Team Disney Building at Walt Disney World Resort, Orlando, Florida, 1991. Photograph by Richard Longstreth, 1997. Disney also worked with Michael Graves, and the stylistic marriage of the entertainment company with postmodern architects was a match made in heaven. Isozaki’s building was positively received, more so than Graves’ work for the company. Domus wrote that it was “the most architecturally pure of Disney’s buildings” (2019).

Unknown Creator, Baths of Caracalla, Rome, Italy, 216–235 CE. Photograph by Allan T. Kohl, 2001. Wave pattern tricolor mosaic. Even the world of mosaic artists in ancient Rome had a hierarchy. There were accomplished designers, while the Roman version of interns did the prosaic infill work.

Charles Rennie Mackintosh. Willow Tea Rooms, Buchanan St, Glasgow, Scotland, 1983. Photograph by Dell Upton, 2017. Although built in the 1980s, the project was inspired by Mackintosh’s Ingram Street Tea Rooms.

Hossein Amanati, Azadi Tower, Tehran, Iran, 1971. Photograph by Sahar Hosseini, 2013. This detail is a part of an iconic tower whose structural engineering was done by Ove Arup. The photographer, Hosseini, had an SAH Scott Opler Fellowship.

News Home Blocks

SAHARA Highlights: Pattern

Jan 22, 2024 by SAHARA Co-Editors Jacqueline Spafford and Mark Hinchman, and Associate Editor Jeannine Keefer

For many eras, the use of pattern was not controversial, but an integral part of building. Other periods found the use of pattern highly problematic, and either avoided it or used it to take a philosophical position—as an ironic touch or an artistic statement. Patterns can be abstract geometries or representational based on natural forms. Two ways of looking at pattern were central to 19th-century debates. One viewpoint holds that pattern is integral and seems to spring from its materials. In another scenario, it is applied and masks its material host, as applied surface ornamentation. Many 19th- and 20th-century architectural theorists grounded their individual philosophies by considering the differences between ornament and ornamentation.

SAHARA does not have many photographs of textiles, wallpapers, or other materials. When photographing your subjects, consider building material details. As we start the new year, include among your resolutions to make a contribution to SAHARA.

To see more SAHARA content: sahara.artstor.org/#/login
To learn more about contributing, visit: sah.org/sahara

Unknown Creator, Tomb of Akbar, Sikandra, Uttar Pradesh, India, 1605–1614. Photograph by Elisabeth Braun, 2005. Akbar was one of the most important leaders of the Mughal Empire and his architectural works were many. This is a sandstone and marble masonry pattern from his tomb.

Robert Venturi and Denise Scott Brown, Lewis Thomas Laboratory, Princeton University, Princeton, New Jersey, 1986. Photograph by Lauren Soth. Venturi and Scott Brown were two of the most prominent architects associated with postmodernism, and one of their design provocations was their selective use of pattern.

Louis Sullivan, National Farmers’ Bank, Owatonna, Minnesota, 1906. Photograph by Ana Esteban-Maluenda. Throughout Sullivan’s career, he paid careful attention to detailing his projects, often coaxing vegetal forms into beguiling geometries, here made from brick, tile, and terracotta.

Frank Lloyd Wright, Unity Temple, Oak Park, Illinois, 1909. Photograph by Ana Esteban-Maluenda. Wright worked for Sullivan, and his attention to decorative detail shows what he learned and how he took American design in new directions. This is stained glass from one of his most famous projects.  

Unknown Creator, Alhambra, Granada, Spain, 1201–1400. Photograph by Reuben Rainey, 1993. Islamic decorations are often augmented with Arabic inscriptions.  

Unknown, Mausoleum of Harun-I-Vilayat, Isfahan, Iran, 1512–1513. Photograph by Marie Ullens de Schooten. The photographer was married to a Belgian diplomat. Her photographs, taken during the period 1951–1972, were given to the Aga Khan Program at Harvard University, an institutional contributor to SAHARA.

Frank Furness, Pennsylvania Academy of Fine Arts, Philadelphia, Pennsylvania, 1871–1876. Photograph by Lauren Soth. In this view, the Academy looks firmly in the Gothic Revival camp, but other parts of the building make clear that Furness drew from a variety of stylistic precedents.

Arata Isozaki, Team Disney Building at Walt Disney World Resort, Orlando, Florida, 1991. Photograph by Richard Longstreth, 1997. Disney also worked with Michael Graves, and the stylistic marriage of the entertainment company with postmodern architects was a match made in heaven. Isozaki’s building was positively received, more so than Graves’ work for the company. Domus wrote that it was “the most architecturally pure of Disney’s buildings” (2019).

Unknown Creator, Baths of Caracalla, Rome, Italy, 216–235 CE. Photograph by Allan T. Kohl, 2001. Wave pattern tricolor mosaic. Even the world of mosaic artists in ancient Rome had a hierarchy. There were accomplished designers, while the Roman version of interns did the prosaic infill work.

Charles Rennie Mackintosh. Willow Tea Rooms, Buchanan St, Glasgow, Scotland, 1983. Photograph by Dell Upton, 2017. Although built in the 1980s, the project was inspired by Mackintosh’s Ingram Street Tea Rooms.

Hossein Amanati, Azadi Tower, Tehran, Iran, 1971. Photograph by Sahar Hosseini, 2013. This detail is a part of an iconic tower whose structural engineering was done by Ove Arup. The photographer, Hosseini, had an SAH Scott Opler Fellowship.

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