European Architectural History Network

Biennial Conference, University of Edinburgh, June 10-13, 2020

Deadline: Dec 31, 2018

The European Architectural History Network is delighted to announce its next biannual meeting at the University of Edinburgh, UK, 10-13 June 2020. In accordance with EAHN’s mission, the meeting aims to increase the visibility of the discipline of architectural history, to foster transnational, interdisciplinary and multicultural approaches to the study of the built environment, and to facilitate the exchange of research in the field. EAHN is a European organisation, but its intellectual scope is global, and the meeting welcomes proposals on any architectural historical topic. As well as topics on any aspect of the built environment, proposals on landscape and urban history are also very welcome, along with proposals dealing with the theories, methodologies and historiographies of architectural history.

Proposals are sought in two basic formats: (1) a Session, and (2) a Roundtable debate. A Session should consist of 4-5 paper presentations, with a respondent, and time for dialogue and discussion at the end. A Roundtable debate should be an organised as a discussion between panel members, and the format would suit topics of particular urgency, or contemporary relevance. Roundtables should also aim to activate audience discussion as far as possible. Sessions and Roundtables may be chaired by more than one person.

Anyone wishing to chair a Session or a Roundtable debate at EAHN2020 are invited to submit proposals by 31 December 2018. Chairs should make clear whether their proposal is a Session, or a Roundtable.

Please note that EAHN is self-funding, and chairs are expected to provide all their conference expenses, including travel and accommodation.

For further details, please visit the conference website: https://eahn2020.eca.ed.ac.uk/

For EAHN, see: https://eahn.org/

When: June 13 – 15, 2019

Where: Brisbane, Australia,

Deadline: November 26, 2018

The Values of Architecture and the Economy of Culture

Architecture has always been found in a space between its monetary and cultural values, but the rise of the concept of the cultural economy asks new questions as to how these values of architecture intersect and affect one another. Discussions of the cultural economy tend to deal with architecture and urban design as the infrastructure of culture, asking questions such as: what building types and land values enable a vibrant popular music culture; or, what landmark cultural flagships drive cultural tourism and city branding.

Architecture itself is rarely seen as a matter of culture or, if it is, it becomes framed as a symptom of the social inequities of gentrification. It seems that outside of the architecture and design communities, architecture is not culture but its scaffold. At the same time, those cultural forms usually seen as having pure intrinsic value—the visual and performing arts, literature, music and the like—are now also seen as having socio-economic values of the kinds usually claimed by architecture in economics and employment, value in community engagement and even health and well-being. One can be sceptical of the efficacy and the politics of exchanging cultural, social and economic values in this way, but the fact that culture is now seen as a wholistic interacting system capable of measurement asks new questions of the place of architecture. As methods for assessing value become increasingly important in the management of culture, the conference asks: how do we understand the values of architecture as a matter of culture?

There is a growing cultural audience for architecture in galleries, events and public space; visual artists take architecture as subject matter; spectacular buildings make for city identity, while the strong line between commercial and creative activity that used to keep architecture in the real estate pages of newspapers has been blurred. Architecture, we could say, has never been more valued, nor valued in such a variety of ways, but often in some form of friction with how the discipline values itself. Our conference is not concerned with arguments for or against the cultural value of architecture per se or that of particular buildings, but rather in the different sites and occasions where values are bestowed, exchanged and come into conflict. We are sceptical of an equivalence of values, whereby an addition of real and proxy monetary values, or a ‘dashboard’ of quantitative and qualitative aspects is said to express the total value of a work, institution or cultural agency, and hold it up for comparison. Rather our focus is on finding concrete cases, both historical and contemporary, from which we hope to make some account of the construction and interrelationship of the values of architecture.

The conference aims to bring together academics and professionals from a range of disciplines. We seek papers that investigate specific cases that can open out to more general issues. Cases may address one or more of the following interlinked themes:

Market/Museum

Here we are interested in the role of architecture in the decades of museum expansion of the late twentieth century, and its current repercussions. In particular, we are interested in the values generated through the collection and exhibition of architecture by museums, and the differing approaches and problems of collecting architecture in all its forms—from whole buildings and drawings, to models, fragments and replicas. We are interested in how collecting practices of cultural institutions relate to the commercial trade in architectural drawings and architectural salvage, as well as the expansion of the art market into architecture and design. Equally we are interested in the traditional role of museums in constructing periods, canons, and national narratives, and how this art-historical frame and its attendant set of values comes to be applied in the exhibition of architecture.

Historical fabric and environments

Protecting historical buildings for their cultural values is frequently seen as a devaluation of the land on which they are built. At the same time the historical value of the built environment is seen to create other kinds of economic value. The cheap rents and collective memory of older parts of a city are frequently seen as the optimum conditions for creativity and cultural entrepreneurship, artist run galleries and venues for indie music. Just as familiar is the gentrification narrative in which financially disinterested artists discover the place qualities that lead to successful property developments. But the temporality of urban development has sped up with the ‘festivalization’ of public life, pop-up retail, and the experience economy. In this section we are concerned with the age and the speed of change and response of the built environment and the contested values that this can reveal.

Civics

The public nature of building means that it has generally been understood as a form of civic culture and regulated, in varying degrees, by planning mechanisms intended to ensure ‘good’ design. Buildings, from those civic in intent to vernacular traditions that are recognised and valued by their communities, provide a repertoire of objects useful in occasioning debate about the balance of public and private interests and the representation of the polity. In this section of the project we are concerned with publishing, criticism, and the systems of awards and honours through which the profession of architecture acclaims good practice and attempts to gain public recognition and consent for its values. The commissioning of a famous architect is a point at which these professional architectural values can return as commercial value and social license for sometimes controversial projects. Similarly, we are concerned with education—of architects, but also of children and the population at large—in the kinds of visual acuity necessary to converse about design and the built environment and thus enact an aspect of citizenship.

Cultural Policy

Here we are concerned with the meta-level question of how architecture is valued as a cultural form, infrastructure for culture and as a form of creative labour. In the nineteenth century, from Goethe to Ruskin and Morris, architecture was one of the principal sites for debate on the social implications of cultural forms. Its near complete absence from the current academic discourse on culture, alongside its demonstratively increasing importance in econometric analyses of the cultural economy begs a number of questions. These include: the extent to which architecture’s professionalisation excludes or obscures its classification as culture; the extent to which discourse on the creative and cultural economy is focused on the politics of subsidies which is largely irrelevant in architecture; and the extent to which the academic discourse on culture is still structured by cultural studies, its origins in debates on literature and language-based forms of film and TV, and a consequent lack of domain knowledge of architecture.

Practical Information

Abstracts of up to 300 words in length and a short biographical note of no more than 100 words may be submitted by email as a Word document to: isarchitectureart@uq.edu.au.

Please name your submission file SURNAME-ABSTRACT and clearly describe in your abstract the case and the themes (listed above) you intend to engage with, or identify an alternative theme that is pertinent to the conference topic.

• Abstract Deadline: 26 November 2018
• Notification of acceptance: week of 10 December 2018
• Draft paper submission: 30 April 2019. In the month prior to the conference the conference conveners will be in contact with authors to discuss draft versions of their papers. We are aiming at 20 minutes presentations.
• Conference and Book Workshop: 13-15 June 2019, Brisbane, Australia.
• Submission of paper: 21 June 2019*

Authors will be invited to resubmit their texts shortly after the conference for the specific purpose of a book to be published in 2020, with final texts due in December 2019. We will therefore only be accepting substantially new work that is not considered for publication elsewhere. Please note that we may not be able to include all papers in the final publication.

There will be no conference fee for participants.

This Conference and Book Workshop are a part of the research project “Is Architecture Art? A history of concepts, categories and recent practices,” funded by the Australian Research Council and The University of Queensland’s Architecture Theory Criticism History Research Centre (ATCH), in partnership with Ghent University. For more information on the research project, please click here.

Convened by John Macarthur, Susan Holden, Wouter Davidts, Ashley Paine and Elke Couchez

Educating architects in Europe. From critical intellectual to successful entrepreneur?

Christophe Van Gerrewey, David Peleman, Bart Decroos (eds.)

In an interview from 2003, writer Sandro Veronesi talks about his education as an architect.

When you’re born in Florence, architecture is the ideal approach to learn the best of one’s tradition. It is a broad study, ranging from mathematical to humanist subjects, architecture included. I found that very attractive. I have never practised architecture, but I think like an architect: it’s a way of looking at the world.

Veronesi is a ‘product’ of the architecture education that came into being following May ’68. The humanities – history, theory, criticism, literature – become of paramount importance; architects are trained to become critical intellectuals or ‘good civilians’ with a wide knowledge of culture.

This tradition is discussed in a conversation between Peter Eisenman and Pier Vittorio Aureli (LOG 28, 2013). ‘The idea was that architecture was taught,’ Eisenman says, ‘as a way of educating – not to learn about architecture, but as a means to understand society. So when you had 7,000 students at the University of Venice, they were not all going to be architects, but they were using architecture, as previous generations used the law, as a way of understanding society.’ Aureli replies: ‘Yes, the humanities were a fundamental component of the education of an architect.’ Elsewhere in their conversation the Bologna Process (1999) is considered as another key moment in the history of European education, following ’68. ‘Bologna’ forced the educational system to yield clear ‘returns’, and to develop a professional profile that makes students independent and self-sufficient in a globalised free market.

Does it still make sense to educate architects as ‘critical intellectuals’, or does this model belong to the past?

OASE invites authors to inquire what kind of architect and urban planner is or was being ‘produced’ at European schools of architecture. In which way has the classic distinction between the architect-as-engineer and the architect-as-artist been defined, and is it still valid today? What is the result of an education in architecture, and what kinds of subjectivity are formed? Can skills be defined professionally, or do they transcend the ‘tools’ that are needed to ‘work’? Do schools really define the training they offer – and how? Thanks to a legacy, or rather by means of well-known and influential tutors? To what degree do schools imitate what happens in a globalised world and in professional praxis? And what moments have been historically decisive in the European organisation of architecture education?

OASE welcomes historical case studies – about schools, methods, teachers, reforms or books – or critical analyses of contemporary European schools and educational practices. Interviews are possible, personal or institutional presentations of pedagogical projects or positions are not.

Proposals for contributions should be submitted to info@oasejournal.nl by 15 May 2018 and must include a proposed title, an abstract (maximum 300 words), as well as the contributor’s name, professional affiliation (if applicable), email address and a short bio (maximum 150 words).

1. DARKNESS, 13-17 January 2019, Svalbard
2. Special Territorial Status and Extraterritoriality, 20-24 January 2019, Svalbard
3. Culture in Urban Space: Urban Form, Cultural Landscapes, Life in the City, 8-12 April 2019, Macau, China

1. DARKNESS, 13-17 January 2019, Svalbard

http://www.islanddynamics.org/darknessconference.html

This multidisciplinary conference explores cultural and environmental aspects of darkness. Darkness is a recurring motif: as chaos and void in mythological narratives; as an aesthetic choice or driver of adaptation in architecture and design; as a marker of hidden activity on the dark web; as a source of dread, beauty, or awe in literature and film; as an ambiguously attractive quality in dark tourism; as an ideal threatened by light pollution; as a symbol of otherness in colonial encounters.
Darkness and the impossibility of visual orientation often connote danger, uncertainty, malice, even moral ruin. Indeed, darkness plays so central a role in our understandingof terror that it is deemed worthy of note when a horror film succeeds in terrifying us in the daylight (The Wicker Man (1973), Picnic at Hanging Rock (1975)). Both in the past and today, Western colonialism has addressed its own anxieties by projecting them onto the non-European “dark places of the earth,” as Conrad puts it in Heart of Darkness (1899). Darkness can also be appealing. Tourists are drawn both to the illicit thrill of visiting sites of tragedy and violence and to the humbling majesty of the polar night. In a densely populated world, natural darkness is an increasingly rare experience, leading to the establishment of International Dark Sky Sanctuaries where the stars of the night sky remain visible.

About Longyearbyen, Svalbard: Longyearbyen (population 2200) is the world’s northernmost town, the main settlement in the vast Svalbard archipelago. Although Svalbard is under Norwegian jurisdiction, this arctic outpost is so remote and its environment so harsh that it was first permanently inhabited in the early 20th century. Longyearbyen was founded as a coal mining town and hosts an arctic sciences university centre, yet life here today increasingly revolves around tourism: both during the summer, when the sun never sets, and in winter, when the sun never rises. The polar night lasts from late October until mid-February. Delegates will have the opportunity to experience the northern lights (aurora borealis) and the deep darkness of the arctic wilderness.

About the conference: Delegates will arrive in Longyearbyen on 13 January. On 14 and 17 January, delegates will take excursions out into Svalbard’s spectacular Arctic landscape and industrial heritage: 1) a trip into the polar night by dog sled and 2) a visit to one of Longyearbyen’s old coal mines. (The precise excursions are subject to weather.) Conference presentations by delegates will be held on 15-16 January at Radisson Blu Polar Hotel Spitsbergen. Registration covers five dinners and all conference activities.

How to make a presentation: 15-minute presentations are welcome on any aspects of darkness in culture and the environment. The deadline for abstracts is 30 June 2018. You can submit your abstract here. The deadline for early registration is 31 July, and the final deadline registration 31 October.

If you have any questions, please e-mail convenor Anne Sofia Karhio.

2. Special Territorial Status and Extraterritoriality, 20-24 January 2019, Svalbard

http://www.islanddynamics.org/extraterritoriality2019.html

This conference explores tangible consequences of territories subject to exceptional forms of governance or jurisdiction: enclaves and exclaves, autonomous zones, reservations, reserves, domestic dependent sovereignties, export processing zones, sham federacies, subnational island jurisdictions, overseas territories, military installations, protectorates, realms, free-trade zones, and any other forms of specially designated territory, the status of which creates identifiable outcomes. These outcomes include (but are not limited to) territorially conditioned differentiations in: economic policies and practices; inward or outward migration; culture, language, and traditions; health; Indigenous self-determination; military alliances and installations; scientific and research practices; environmental issues; jurisdictional capacity; and diplomatic or paradiplomatic practices.

About Longyearbyen, Svalbard: Longyearbyen (population 2200) is the world’s northernmost town, the main settlement in the vast Svalbard archipelago. Svalbard is under Norwegian jurisdiction and is administered by a Governor appointed by the Norwegian state. Nevertheless, the terms of the Svalbard Treaty (1920) have placed significant limits on Norway’s ability to control immigration to and economic activity in this distant territory. Longyearbyen is home to residents of over 40 nationalities, Russia runs the mining town of Barentsburg, and the settlement at Ny-Ålesund hosts research stations from more than a dozen countries. The polar night, when the sun never breaches the horizon, lasts from late October until mid-February.

About the conference: Delegates will arrive in Longyearbyen on 20 January. On 21 and 24 January, delegates will take excursions out into Svalbard’s spectacular Arctic landscape and industrial heritage: 1) a trip into the polar night by dog sled and 2) a visit to one of Longyearbyen’s old coal mines. (The precise excursions are subject to weather.) Conference presentations by delegates will be held on 22-23 January at Radisson Blu Polar Hotel Spitsbergen. Registration covers five dinners and all conference activities.

How to make a presentation: This interdisciplinary conference welcomes presentations addressing any region of the world as well as innovative perspectives that highlight the complex intersections of multiple peoples, places, and polities. Presentations last 15 minutes and will be followed by around 5 minutes’ question time. The deadline for abstracts is 30 June 2018. You can submit your abstract here. The deadline for early registration is 31 July, and the final deadline registration 31 October.
If you have any questions, e-mail convenor Zachary Androus.

3. Culture in Urban Space: Urban Form, Cultural Landscapes, Life in the City, 8-12 April 2019, Macau

http://www.islanddynamics.org/cultureurbanspace.html

The city cannot be understood in terms of its buildings, infrastructure, and physical geography alone. Urban materiality is inextricably linked with city life: Urban spaces are influenced by the cultures that inhabit them, and urban form shapes these cultures in turn. This conference brings together researchers, planners, designers, and architects from around the globe to explore the mutual influence of urban culture and urban form.
Impacts of past urban planning reverberate long after original rationales have become obsolete: Fortifications (walls, moats, fortresses), coastlines and land reclamation, transport infrastructure (roads, bridges, city gates), and other elements of the built environment structure future development. Aspects of urban form contribute to dividing the city into neighbourhoods, determining which areas flourish while others decay, encouraging shifts from industrial to tourism to leisure uses. The city’s architectures affect the cultures of the people who use them: Different kinds of housing foster different forms of sociality or isolation, and different networked infrastructures promote different pathways to the internal cohesion and/or citywide integration of urban cultures. Whether urban cultural landscapes evolve gradually over time or result from decisive, top-down planning, they reflect and influence the city’s multitude of identities, industries, cultural politics, ethnic relations, and expressive cultures.

About Macau: In 1557, Portugal established a colony on Macau, then a sparsely populated archipelago in the Pearl River Delta. Macau developed into a major trading centre and regional leader in the gambling industry. Macau became a self-governing Special Administrative Region of China in 1999. Macau’s islands were expanded through land reclamation over time. The spatial limitations arising from the territory’s enclave geography led to extreme yet phased urban densification. Macau is today the most densely populated territory in the world, with 650,000 residents concentrated in just 30.5 km², primarily on the 8.5 km² Macau Peninsula. Yet despite its small size, Macau Peninsula is a place of strong neighbourhood and functional distinction, encompassing heritage tourism zones; Buddhist, Taoist, and Christian religious sites; residential districts at all income levels; casino zones; green parks; and retail districts.

Although Macau is best known for its gambling tourism and UNESCO World Heritage status (both of which are characterised by strict regulatory regimes), Macau Peninsula in particular is rich in vernacular urban and architectural practices that flourish alongside, above, and sometimes beneath the city’s internationally oriented facade. The simultaneous preservation of colonial heritage and construction of monumental casino tourism infrastructure means that, despite the withdrawal of Portuguese colonial rule, the culture, traditions, and lifestyles of the Chinese people of Macau continue to be pushed to the margins of this hyper-dense city, necessitating creative spatial practices and clear differentiations between spaces for tourists and residents. At the same time, in an atmosphere of Western suspicion toward China, Macau’s decolonisation and re-Sinification is often framed in terms of culture loss, a framing that paradoxically echoes discourses surrounding Indigenous activism. Macau’s urban space thus contains and conditions complex negotiations regarding cultural authenticity, visibility, and practice.

About the conference: ‘Culture in Urban Space’ allows delegates to contextualise knowledge and engage with the local community. On 8-10 April, delegates will explore the morphological and cultural distinctions of Macau Peninsula, visiting diverse neighbourhoods across the city, with an emphasis on the ways in which the urban environment has transformed over the centuries. Delegates will experience Macau’s urban environment through three days of walking-based field trips, including visits to tourist gateways, religious sites, heritage tourism zones, and residential neighbourhoods, and casino zones, and commercial areas. Conference presentations will take place on 11-12 April. Special emphasis will be placed on negotiations of meaning within the urban environment, particularly in the aftermath of colonialism and other forms of cultural encounter.

How to make a presentation: This interdisciplinary conference welcomes presentations addressing any region of the world as well as innovative perspectives that highlight the complex intersections of multiple peoples, places, and polities. Presentations last 15 minutes and will be followed by around 5 minutes’ question time. The deadline for abstracts is 31 August 2018. You can submit your abstract here. The deadline for early registration is 31 October, and the final deadline registration 30 December.

If you have any questions, e-mail convenor Adam Grydehøj.

This special issue of IJIA focuses on the experience of carrying out archival work or fieldwork in architectural research, including research-led practice. How might this experience, with all its contingencies and errancies, be made into the very stuff of the architectural histories, theories, criticisms and/or practices resulting from it?

This question is rendered all the timelier due to recent and ongoing developments across the globe, not least in the geographies relevant to IJIA’s remit. The fallout from the so-called ‘Arab Spring’ has escalated social, political, and economic crises and, in certain cases like Libya and Syria, has taken an overtly violent turn. Major countries with a predominantly Muslim population, such as Turkey, Egypt and Indonesia, have witnessed restrictions on civil liberties. Moreover, the word ‘Islam’ has become embroiled in various restrictive measures introduced in countries whose successive administrations have otherwise laid claim to being bastions of democracy and freedom, such as emergency rule in France and travel bans in the US.

Others with significant Muslim populations, such as India and Russia, have seen nationalist and/or populist surges, often with significant implications for their minorities. Such developments have engendered numerous issues of a markedly architectural and urban character, including migration, refuge, and warfare, protest and surveillance, as well as heightening the risk of contingencies and errancies affecting archival work and fieldwork.

Whereas this risk and its materializations are typically considered unfortunate predicaments and written out of research outputs, how might a focus on architecture at this juncture help write them back into history, theory, criticism, and practice? What might this mean for the ways in which architectural research is conceived and carried out under seemingly ‘ordinary’ circumstances – those that appear free from the risk of contingencies and errancies affecting archival work and field work?

 

Deadline for submissions: 30th July 2018

For more information: https://www.intellectbooks.co.uk/journals/view-Journal,id=204/view,page=2/

When Architecture & Culture, the Journal of the Architectural Humanities Research Association, was first launched in November 2013, the intention was to include book reviews. We have a designated editor for book reviews, and we have sporadically published essays that review books, when those essays concern the theme of a particular journal issue. What we have not done is to dedicate a regular section of the journal to book reviews, or to solicit new books from publishers (who send them, regardless).

Here, we broach the issue of book reviews by foregrounding the suggestion that to review is more than to formulate a critique of something, it is “to look at or to examine again … to look back upon” (Collins English Dictionary). Our interest is to re-view the book review, to study its different roles and explore its possibilities for architecture’s various modes of production, dissemination and reflection.

Deadline for submissions: 30th June 2018

For more information: http://explore.tandfonline.com/cfp/pgas/rfac-cfp-book-reviews

Elusive landscapes of ‘design’ in the city

Session convenors: Gabriele Schliwa (University of Manchester) and Robert Cowley (King’s College London)

Although design was historically associated with the form of industrial and commercial products (and with the professional field of ‘urban design’), processes of ‘design thinking’ and the conceptual language of design have become commonplace in many spheres of practice and governance. In line with Richard Buchanan’s early understanding of design thinking as a ‘new liberal art of technological culture’ (Buchanan 1992), varied design processes are now advocated and applied across fields as diverse as public service delivery, democratic institutional decision-making, corporate management, international disaster relief, and even military operations research. This long-term trend has significant implications for urban space, not only in relation to governance approaches and new types of citizen engagement, but also in, for example, the development of infrastructural innovations, experimental and grassroots initiatives, the implementation of sustainability agendas, and the spread of digital/’smart’ urbanism.

This panel aims to critically and constructively engage with emerging modes of governing and reshaping urban space and social relations through the lens of design.

The scattered and elusive landscapes of design in the city we seek to explore include:

• Design processes that follow ‘the concept of co-‘ (Bason 2014) such as co-design, co-creation, co-production or collaboration and are often concerned with ‘citizen engagement around urban issues’ (Balestrini et al 2017)
• Design concepts previously used in the digital design sector and/or in the context of business innovation (e.g. service design, experience design, interaction design, interface design, human-centred design)
• Ways of thinking including design thinking and resilience thinking (Cowley 2017) or creative thinking
• Shifting identities, often from private towards public subjectivities, e.g. consumer to citizen, user to participant or claims about ‘citizen-centric’ goals (Cardullo and Kitchin 2017)
• Workshops, events or projects such as e.g. innovation labs, living laboratories (Evans and Karvonen 2014), civic hackathons or jams in support of smart or sustainable city agendas
• Cybernetic urbanism and aspects of environmental control (Gabrys 2014, Halpern 2015, Krivý 2016, Luque-Ayala and Marvin 2017)

Considering this variety of logics and activities, we would like to invite position papers or short provocations based on related empirical work, personal experience or theoretical considerations. These will be followed by a wider discussion. Contributions could address (but are not limited to) the following themes:

• Rationalities – What does design as a mode of governing promise and what does it deliver in practice?
• Contexts – In which contexts is ‘design’ as a mode of governing being mobilised today?
• Levels of facilitation – Who is hosting, facilitating and participating in ’design thinking’ or ’designerly’ initiatives
• Governing spaces – What are its spatial dimensions and spaces of inclusion and exclusion?
• Power – What are the mechanisms of empowerment and disempowerment?
• Historical perspectives – What are the origins of ‘governing through design’ approaches and current drivers behind this trend?
• What theorisations and conceptualisations do we need to better understand the power relations and implications of design or designing in cities?
• How can we maintain a critical, reflective, and constructive practice when designing with people becomes part, or even the focus of our academic work (particularly under funding schemes aimed at impact and innovation)?
• What are its opportunities, limitations or dangers when attempting to steer society into more desirable directions?

Please submit your proposed title and abstract (200 words) to gabriele.schliwa@manchester.ac.uk and robert.cowley@kcl.ac.uk by Friday 9th February 2018.

Featured image source: http://www.rgs.org/WhatsOn/ConferencesAndSeminars/Annual+International+Conference/Timeline.htm

The Architecture Exhibition as Environment

A special issue of Architectural Theory Review, edited by Alexandra Brown & Léa-Catherine Szacka

Deadline: Jun 1, 2018

The rise and professionalization, around the 1960s, of the figure of the “curator” marked an important point in the configuration of an exhibition’s authorship and process, including artist-curator overlaps, restaging or reframing of exhibitions, and questioning processes of instruction versus creation. The exhibitions of Harald Szeemann, Lucy Lippard, Seth Siegelaub, Pontus Hultén and others gave form to these new problems, as did the disciplinary provocations of conceptual art. Together, these changes contributed to the transformation of the very idea of the exhibition, from a display of discrete and primarily representational objects to more immersive and experiential environments.

In architecture, however, shifts in curatorial processes and exhibition environments trailed behind experiments in the visual arts (painting, sculpture, conceptual art). And while the practice of discussing exhibitions in terms of curators and the architectural objects they curate may appear to carve out clearly defined roles for those involved, it can often conceal more complex negotiations and overlaps in the practice of exhibition-making and the display of architecturally informed work. In the case of architecture, exhibitions that seek to display process alongside products or outcomes through forms of commissioned content invariably ask the curator to assume multiple roles in the development of the exhibition: those of the curator, the client, the critic, the advisor, and the designer. Likewise, the more totalised experience of the exhibition as environment can recast visitors or audiences as users, clients and participants, as well as embedded spectators.

Such broader shifts in exhibition practices coincided with the emergence of a wide range of architecture exhibitions conceived as, or concerned with, environments. For example, at the 1976 Venice Art Biennale, architecture entered the renowned multidisciplinary institution through an exhibition entitled Ambiente Arte (Environment Art). And by directly addressing or challenging the architectural dimension of the notion of environment, the exhibition suggested new terms on which architecture and design could be practiced, prepared and presented in both institutional and extra-institutional settings. Reflecting growing uncertainty over architecture’s capacity to meaningfully engage with the expanding networks and systems responsible for re-ordering the urban environment in unprecedented (and often intangible) ways, architecture is no longer just the object of the exhibition. Instead, the exhibition itself has emerged as an important site for reframing and representing the discipline of architecture in response to these new challenges.

This issue of Architectural Theory Review seeks to discuss the often overlooked and yet productive negotiations and tensions embedded in the postmodern and contemporary architecture exhibition as form of production. Specifically reflecting on the conflation of the architecture exhibition with environments, to what extent can the productive and problematic aspects of display be considered either as distinct from, or as extensions of, those encountered within the art exhibition? In which ways does the architecture exhibition, considered thus, challenge more traditional and unidirectional curator-artist relationships and outcomes? How might the notion of environment (as media, physical settings or systems) in relation to architecture be used a lens through which to understand new forms of exhibition making?

We are particularly interested in papers reflecting on the conceptualisation and curation of architecture exhibitions, as well as other kinds of exhibitions in which architecture or architectural (or environmental) thinking may be at stake, from the middle of the twentieth century onwards. We also welcome papers addressing biennial and/or triennial exhibitions as forms of display that particularly challenge the temporality of the exhibition as a singular event.

Full papers may be submitted to the ATR Manuscript Central site by June 1, 2018.

This issue of ATR (23, no. 1) will be published in April 2019.

Informal inquiries may be made to alexandra.j.brown@sydney.edu.au or lea-catherine.szacka@manchester.ac.uk

Reference / Quellennachweis:
CFP: Architectural Theory Review (23, no. 1), Architecture Exhibition as Environment. In: ArtHist.net, Jan 27, 2018. <https://arthist.net/archive/17218>.

Tuesday 22 May 2018

University of Wolverhampton, UK

The Centre for the History of Retailing and Distribution (CHORD) invites submissions for a workshop that explores the architecture, material environmement, objetcs and material culture of retailing and distribution.

Papers focusing on any historical period or geographical area are welcome, as are reflections on methodology and / or theory. We invite both experienced and new speakers, including speakers without an institutional affiliation. Potential speakers are welcome to discuss their ideas with the organiser before submission (please see details below). Some of the themes that might be considered include (but are not limited to):

• The architecture of shops, markets and retail premises
• Retailing and distribution ephemera
• Retail exteriors, displays and interiors
• The material culture of distribution
• Fixtures, fittings and packaging
• The restoration and recreation of historical shops
• Retailing and town planning
• Retail premises in the wider environment

Individual papers are usually 20 minutes in length, followed by 10 minutes for questions and discussion. We also welcome shorter, 10 minute ‘work in progress’ presentations, also followed by 10 minutes for discussion.

To submit a proposal, please send title and abstract of c.300 to 400 words, specifying whether you are proposing a 10 or a 20 minute presentation to Prof Laura Ugolini, at l.ugolini@wlv.ac.uk by 2 March 2018.

If you are unsure whether to submit a proposal or would like to discuss your ideas before submission, please e-mail Prof Laura Ugolini at l.ugolini@wlv.ac.uk.

The workshop will be held in the Mary Seacole (‘MH’) Building, Wolverhampton University City Campus Molineux, a short walk from Wolverhampton’s bus and train stations. Maps and directions are available here.

The call for papers is available here.

Find out more about this and other CHORD events at https://retailhistory.wordpress.com

For further information, please e-mail Prof Laura Ugolini at: l.ugolini@wlv.ac.uk

Featured image: Marks and Spencers Edgware Road, London store in 1912 © Marks and Spencers Company Archiv

The Journal of Public Space is a joint research project developed by City Space Architecture, a non-profit organization based in Italy, and the Queensland University of Technology, based in Australia, in partnership with UN Habitat, the United Nations Programme for Cities and Human Settlements.

The Journal of Public Space is the first, international, interdisciplinary, academic, open access journal entirely dedicated to public space. It speaks different languages and is open to embrace diversity, inconvenient dialogues and untold stories, from multidisciplinary fields and all countries, especially from those that usually do not have voice, overcoming the Western-oriented approach that is leading the current discourse.

Call for papers | 2018 issues

The Journal of Public Space is welcoming full papers for 2018 issues, to be published in April, August and December.

Deadline for April issue: January 10, 2018

Deadline for August issue: May 10, 2018

Deadline for December issue: September 10, 2018

Find out more about the journal, as well as about the submission requirements here.

Featured image taken from the journal’s website: FESTA Festival of Transitional Architecture in Christchurch, New Zealand.

Credits: (top right) University of Auckland School of Architecture and Planning, Orbis, CityUps, FESTA 2014. (bottom right) Unitec Architecture Dept, Influx, CityUps, FESTA 2014. Photo: Erica Austin. (top center left) University of Auckland School of Architecture and Planning, Antigravity, (top center right) CityUps, FESTA 2014. Photo: Bridgit Anderson. Photo: Erica Austin. (top left) Lonnie Hutchinson, I Like Your Form lit by Gap Filler for FESTA 2014. Photo: Erica Austin. (bottom left) Unitec, Aurora, CityUps, FESTA 2014. Photo: Jonny Knopp.

The CA²RE community and Aarhus School of Architecture proudly announces the third CA²RE conference 13-16 April 2018 in association with ARENA, EAAE and ELIA

The Architectural Research European Network Association (ARENA), the European Association for Architectural Education (EAAE) and the European League of Institutes of the Arts (ELIA) are seeking to offer a joint platform for research in all fields of architecture, design and arts. This includes subjects such as environmental design, sustainable development, interior design, landscape architecture, urban design/urbanism, music, performing arts, visual arts, product design, social design, interaction design, etc.

One of the objectives is to support early-career researchers, PhD students and Postdocs in the fields of architecture and the arts, and to improve the quality of their research. Another objective is to show that senior researchers CARE about the work that is being done by more junior researchers.

CA²RE, the Conference for Artistic and Architectural (Doctoral) Research will be hosted in April 13-16, 2018 at the Aarhus School of Architecture, in association with ARENA, EAAE and ELIA. CA2RE is intended to bring together senior staff and early-career researchers to improve research quality through an intensive peer review at key intermediate stages. It wishes to contribute to the open and diverse fields that exist in architectural and artistic research, not giving priority to any single approach.

Deadlines

15 Dec 2017 Abstract submission deadline, registration opens

15 Jan 2018 Notification of acceptance

28 Feb 2018 Full text submission deadline

1 April 2018 Registration deadline

13-16 Apr 2018 Conference dates

For further information, please visit the conference website.

Featured image taken from the conference website.

Monsoon Waters

Call for Papers

Deadline: 08 January 2018

Symposium Dates: 12-13 April 2018

Venue: University of Westminster, London, UK

Proposals for papers are invited for Monsoon Waters, the second in a series of symposia convened by Monsoon Assemblages, a research project funded by the European Research Council (ERC) under the European Union’s Horizon 2020 research and innovation programme.

We live in a world where political geography and spatial planning have assumed permanent and easily observable divides between land, sea and air. Land is understood as solid, stable, divisible and the basis of human habitation; the sea is understood as liquid, mobile, indivisible, and hostile to human settlement; air is understood as gaseous, mobile, invisible and indispensable to human life. The monsoon cuts across these divisions. It inundates lived environments every year, connecting land with sea and sky. It is a spatial practice that reorganises air, water, land, settlements, cities, buildings and bodies through heat, wind, rain, inundation, saturation and flow. It unites science with politics and policy with affect. Today climate change is disrupting its cycles and explosive social and economic growth and rapid urbanisation are increasing the uncertainty of its effects. How can spatial design and the environmental humanities respond to these conditions by drawing on the monsoon as a template for spatial theory, analysis and design practice?

In order to deepen its responses to these questions Monsoon Assemblages is convening three symposia between 2017 and 2019 framed by the states of matter connected by the monsoon – air, water and ground. Monsoon [+ other] Airs took place in April 2017. The second symposium, Monsoon Waters will take place on 12-13 April 2018. It will comprise inter-disciplinary panels, key-note addresses and an exhibition and aims to bring together established and young scholars and practitioners from a range of disciplines, literatures, knowledge systems and practices (theoretical, empirical, political, aesthetic, everyday) to engage in conversations about the ontologies, epistemologies, histories, politics and practices of monsoon waters. We are particularly interested in contributions that investigate

1. Wet monsoon ontologies

Following Mathur and da Cunha1 we are interested in contributions that explore wetness (in the air, on the earth, under the earth) as a way of being, cultures of wetness, and the urban, environmental and political consequences of attitudes towards being wet.

2. Late-modern monsoon waters

We are interested in contributions that explore attitudes towards water in south Asia since the mid 1980’s, their history, their urban, environmental and political consequences and the ways-of-being-monsoon-water that these attitudes have produced, such as flood-water, deficient-water, toxic-water, beautified-water, bottled-water etc.

3. Monsoon waters in a changing climate

We are interested in contributions that explore monsoonal cycles of wetness and dryness from the perspective of climate change, any changes in political, social or economic behaviour these might be catalysing and in new or invigorated social movements these changes might be inspiring.

4. Visualising monsoon waters

We are interested in contributions that explore ways of visualising monsoon cycles of wetness and dryness, (in the air, on the earth, under the earth) and their consequences for spatial design practice.

Confirmed key note speakers at the symposium are:

Anuradha Mathur Dilip da Cunha: architects, planners and landscape architects based in Philadelphia, USA and Bangalore, India, whose work is focused on how water is conceptualised and visualised in ways that lead to conditions of its excess and scarcity, and the opportunities that its ubiquity offers for new visualizations of terrain, and resilience through design.

Kirsten Blinkenberg Hastrup: environmental anthropologist based in Copenhagen, Denmark, whose work deals with social responses to climate change across the globe, currently centered in the Thule Area, NW Greenland.

Contributions are invited in response to these provocations. They should take the form of 150 – 250 word abstracts for either papers or creative, practice based contributions such as drawings, photographs, videos, performances, musical compositions etc. Enquiries or abstracts should be sent to Lindsay Bremner at l.bremner@westminster.ac.uk by 08 January 2018. Abstracts will be reviewed by the Monsoon Assemblages team and authors will be notified by 29 January 2018 whether their contributions have been accepted or not. There is no registration fee for the symposium, but participants will be required to secure their own funding to attend it. Participants will be requested to submit their contributions for publication in the symposium proceedings, or, potentially, a special journal issue.

Monsoon Assemblages, a research project funded by the European Research Council (ERC) under the European Union’s Horizon 2020 research and innovation programme (Grant Agreement No. 679873).

http://monass.org/

facebook: monsoon assemblages project

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University of Kent, KSA Create Biennial Conference 2018

Cultural landscape refers to landscapes shaped by humans through habitation, cultivation, exploitation and stewardship, and has influenced thinking in other fields, such as architecture. Generally, architecture has been subsumed within cultural landscape itself as a comprehensive spatial continuum. Yet standard architectural histories often analyse buildings as isolated objects, sometimes within the immediate context, but typically with minimal acknowledgement of wider spatial ramifications. However, buildings may become spatial generators, not only in the immediate vicinity, but also at larger geographic scales. ‘Buildings’ in this case include architectural works in the traditional sense, as well as roads, bridges, dams, industrial works, military installations, etc. Such structures have been grouped collectively to represent territories at varying scales.

In the context of this conference, the term ‘territories’ is appealed to rather than ‘landscape’, for the latter is associated with a given area of the earth’s surface, often aestheticized as a type of giant artefact. Territories by contrast are more abstract, and may even overlap. Discussions in this conference may consider varying territorial scale relationships, beginning with the building, moving to the regional, and even to the global. For example, at the level of architectural detailing, buildings may represent large-scale territories, or obscure others, themselves acting as media conveying messages. How tectonic-geographic relationships are represented may also be considered. Various media, primarily maps but also film and digital technologies have created mental images of territories established by buildings, and are all relevant to these discussions. Geopolitical analysis may provide another means towards understanding how architecture makes territories. Governments are often the primary agents, but not always, for religious and special interest groups have played central roles. Mass tourism and heritage management at national and international levels have reinforced, or contradicted, official government messages. Organisations dedicated to international building heritage, such as UNESCO (United Nations Educational, Scientific and Cultural Organization) also are implicated in such processes.

Paper proposals may cover anytime period, continuing into the present. Relevant proposals from all disciplines are welcomed.

Where: Canterbury, Kent, UK

When: 28th and 29th June 2018

Paper abstract submission due date: 15th of January, 2018.

Paper selection announcement date: 31st of March, 2018.

Find out more: https://research.kent.ac.uk/frombuildingtocontinent/

Cosmopolitanism without provincialism is empty, provincialism without cosmopolitanism is blind.
(Ulrich Beck, Cosmopolitan Vision)

Translocality draws attention to multiplying forms of mobility without losing sight of
the importance of localities in peoples’ lives.
(Oakes and Schein, Translocal China, Linkages, Identities and the Reimagining of Space)

TRANSLOCAL Contemporary Local and Urban Cultures seeks to explore and discuss the possibility of the transcendence of the physical and virtual place(s), understood as expanded space(s)/time(s), where local and global arise as implicated dynamic realities. It will analyse, not only the geopolitical, social, historical and cultural processes of local and urban encounter, but also the various forms of artistic expression resulting from these phenomena understanding that, nowadays, it always implies both the development of local identification ties as well as the building of ties that belong to several external networks, located beyond the local.

TRANSLOCAL #1

The inaugural issue of TRANSLOCAL Contemporary Local and Urban Cultures opens the invitation to the publication in the sections of a) Essays, including visual essays and b) Articles.

Proposals for publication should contribute to the reflection on the concepts of (trans) locality and urban cultures, as well as to the critical analysis of geopolitical, social, economic, geophysical, biological, cultural, artistic, psychological and affective dimension that these concepts can refer to, or even to the discussion of the problems that these phenomena and experiences imply. The case studies taken as the object of analysis and discussion may relate to both the city and the urban cultures of Funchal, as well as other cities and other places marked by translocality.
(Trans)locality and urban cultures

Today, to reflect on what is translocal and translocality, on what is the city and the urban (and their cultures), implies putting these concepts, phenomena and experiences in correlation with others that are alternative or complementary to them: On the one hand, local / locality / localism, region/regionality/regionalism, nation/nationality/nationalism, globalization and cosmopolitanism; and, on the other hand, countryside / rural / rurality.

The catastrophic, fragmentary and palimpsest character that Walter Benjamin (2003) identified in the experience of modern temporality, the liquidity that Zygmunt Bauman (2012) diagnosed in late modernity, or the critical reflexivity that Ulrich Beck (1994) also pointed out in contemporary times could no longer coexist, in the late twentieth century, with exclusively linear and progressive conceptions of time, with deterministic and merely material perspectives of space (Lefebvre, 1991; Massey, 2005; Harvey, 2009), or even with tight and static paradigms of phenomena such as frontier or community (Agamben, 1993, Nancy, 2000).

The city and the urban, thought and experienced as expanded and unstable place-times, presented themselves as a physical, social, political, and cultural fabric, fragmentary but dense, contaminated and in turbulent metamorphosis (Crang, 2000). They emerged as organic, tensile, and non-homogeneous units, where the threshold with the rural and with the foreigner dissolved and where various temporalities intersected, in a plot that was permeable to the strange, the difference and the new, but simultaneously would define itself as an autophagic body that nourishes itself from the ruins of the past, in order to reinvent itself in a complex and sometimes chaotic way (Domingues, 2010).

City and urban would configure themselves then (as today) as palimpsests and transboundary archipelagos, marked by dynamics that surpassed the physical place; like rhizomatic systems, whose fluidity found points of anchorage and crystallization that extended beyond the classic physical walls of the city and beyond the norms that, until then, dominated.

Along with this understanding of what was (or is) the city and the urban, in that same period, translocality and translocal emerged also as a conceptual renovation of these other terms that are tangential to them. Subject to the usury of time and the phenomenological, historical and contextual alteration, local / locality / localism, became limiting operative concepts in the reflection on the modern eco sociocultural systems as well as in the construction of answers to the questions and the challenges posed by contemporaneity. On the one hand, the growing wave of human and cultural mobility was intensified with technological development, with the emergence of new media and (with these) renewed modes of communication and interpersonal, intercultural and economic relations, now also marked by Virtuality, cross-border simultaneity and more complex space/time experiences (Beck, 2007; Greenblatt, 2010). On the other hand, the nineteenth-century paradigm of the nation-state (often reproduced, on a smaller scale, in the paradigm of the Region) was exhausted (Sousa Santos, 1999), requiring a re-equating of the processes of political and geocultural identification, identity narratives and community-based relationships (Agamben, 1993, Nancy, 2000). Simultaneously, the hegemonic tendency of globalization, the vertigo of cosmopolitan uprooting, and these new understandings of space/time, brought about a profound destabilization and pulverization of the narratives of identity.

In this way, translocal and translocality questioned and deconstructed the radical and uncritical dichotomization that, not infrequently, was established between what was local and national or between what was local and global or cosmopolitan (Greiner and Sakdapolrak, 2013). They came to refer to cultural, social, political, historical, economic, artistic, or even biological, geophysical, psychological and affective phenomena and experiences implied in more or less transgressive dynamics of transit, fluctuation, transference and metamorphosis, Was of subjects, values, substances and imaginary, whether of goods and products. However, these phenomena and experiences did not, however, stem from an absolute deterritorialization or from a radical uprooting of time that projected them out of a here-now. The prefix trans- inscribed (and still subscribes today) the dynamic, transformative, relational and transgressive character of this contemporary modality of experiencing and thinking the place. Locus, in the etymological root of place, in turn, stressed that this fluctuation or drift, as well as the merging of boundaries resulting therefrom, did not exhaust itself.
In this context, to return to the local, to rethink it critically, now in an articulation of various scales and times that cross in it, emerges as an attempt to respond to those shocks, demanding, however, another conceptualization, that exceeded the confinement of the borders of the local to a static, physical and geographic rooting (Appadurai, 2003: 178).

As Katherine Brickel and Ayone Datta (2011: 3-4) note, following the path of authors such as Appadurai, translocal and translocality designate phenomena and experiences “place-based rather than exclusively mobile, uprooted or ‘travelling.” As expanded places, resulting from the encounter and negotiation between various places-times, the existence of these phenomena and experiences is produced locally (Appadurai, 2003: 178).

Essays and Articles

TRANSLOCAL welcomes, proposals of essays and articles (2500 to 5000 words), written in Portuguese or English, which, dealing with the theme “(Trans)Locality and Urban Cultures”, address (although not exclusively) topics such as:

• The local, the urban and the city as expanded place-time (spaces), as palimpsests and/or transboundary archipelagos: issues of identity and heritage;
• Human and cultural mobility: centrifugal and/or centripetal movements, between the vertigo of transit and the pulverization of local rooting;
• Displacement, conflict, and power;
• The plasticity of local and urban territories:
• Processes of spatial co-production processes (top-down and bottom-up dynamics);
• Ecological sustainability, (de)territorial organization, risks, resilience;
• Local and urban landscapes as metamorphic phenomena and as hybrid territories: conservation, subversion, (re)creation;
• The babelic complexity of the contemporary (trans)local and urban: issues of linguistic encounter and variation;
  issues of linguistic, social, cultural and artistic (in)translatability;
• The (re)imagination of the local and/or the city: narratives: literary and film narratives and representations;
  Contemporary artistic discourses, site-specificity, transgression and (re)creative relocations;
• Tourism and the reinvention of the local and/or the urban: from the virtual to the empirical experience; processes of touristification

Submissions: All submitted material will be subject to a double-blind peer review process.

Essays and articles proposals must be sent to translocal.revista@mail.uma.pt , by 10 November 2017, and should also include the following elements:

• A summary of the proposed text submitted in Portuguese and English (up to 250 words);
• Name of the author (s) and a short curricular note (up to 150 words).
• Author guidelines

All submissions must follow the predefined author guidelines.

Guidelines for articles are available at http://www4.uma.pt/cierl/?page_id=5070

About TRANSLOCAL

TRANSLOCAL. Contemporary Local and Urban Cultures is a journal oriented to the dissemination and study of contemporary local and urban cultural phenomena. Intending to reach local, national and international heterogeneous public, it is composed: a) an online edition and b) a printed edition, both autonomous, but dialoguing with one another. Both versions own their unique ISSN registration. TRANSLOCAL will assume cultural analysis and dissemination, taking into account not only its local context but also potential translocal and international articulations.

The online edition will be updated quarterly, with contents being published/organised in five different sections: Essays, Articles, Dialogues, Crossed gaze and Reading Suggestions. The digital edition of the journal will give preference to contents that address issues and themes related to the project, or to activities and events that TRANSLOCAL promotes or is associated with as a partner. will not be subject to exclusive themes

The paper edition, with the ISSN 2184-1047, will be published one a year and each number will have a specific theme. Articles submitted for publication will be subject to double-blind peer review, by members of the journal’s Reading Committee and Advisory Board. The first number will be published in Spring 2018.

TRANSLOCAL is a partnership between the Centre for Research in Regional and Local Studies of the University of Madeira (UMa-CIERL) and the Municipality of Funchal (CMF). TRANSLOCAL. Contemporary Local and Urban Cultures will take a particular “topos” of interest Funchal to think (with) other (trans)local and urban cultural realities.

+ info here (PT): http://translocal.cm-funchal.pt/

Call for Papers for the next themed issue of Architecture and Culture journal.

Spaces of Tolerance
Vol. 7, Issue no. 1, March 2019
Igea Troiani and Suzanne Ewing, Editors.

Academic journal publishing worldwide has become increasingly watched over and policed by funding bodies and institutions demanding that scholarship be seen to have direct and maximized impact for economic gain or return. As Wendy Brown notes, “the move to judge every academic endeavour by its uptake in non academic venues (commerce, state agencies, NGOs), as the British Research Excellence Framework (REF) does, is […] damaging” because “academic practices have been transformed by neoliberal economization”.3 This monitoring, counting, measuring and quantifying frames assessment of the validity of architectural research and limits the exchange between architectural practice and publishing. Within academic institutions, organizational adjacencies of disciplines create conditions of more or less tolerance in judging the value of a wide and diverse range of architectural outputs and the limits of the form/s original and creative architectural research may appear beyond a building design or a traditional 7,000 word scholarly journal article about a building’s history or performance that is double-blind reviewed by expert peers in architecture.

In an effort to recover architectural publishing as a more liberal, yet rigorous, space of production and imagination, this issue of Architecture and Culture seeks to reveal nuances in publishing and associated academic practices which might exceed or distil conventional and accepted disciplinary limitations. It seeks to instigate more open-ended relationships, interpretations and iterations between theory and practice – between textuality, visuality and aurality – to sway between and across more or less disciplinarity with empathy and insight. Contributions are sought from a range of cultural and geographical positions and perspectives that examine any aspect of the discourse, practice and research of architecture as an exploration of spaces of tolerance.

To download full version of call for papers:            https://www.dropbox.com/sh/hs3jqampgpnx5zz/AACDK59VbnNJmSeV-pBNMJ5ba?dl=0 

Featured image: John Hejduk, 13 Watchtowers of Cannaregio, 1978.