Call for Paper / Journal



Special Issue co-edited by Ines Weizman and Jorge Otero-Pailos


Deadline: September 15, 2014


Future Anterior invites essays that explore the relationship between copyright and preservation from a historical, theoretical and critical perspective. Both copyright and preservation laws are aimed at protecting unique human achievements, but they point to different, even opposing threats. Whereas copyright is meant to protect private interests from public encroachments, preservation mostly aims to safeguard the public interest against private forces. But as the categories of private and public are redrawn under the pressures of globalization, what challenges and opportunities lay ahead for preservation?

Both preservation and copyright law attempt to answer a basic question: Who has the right to make a copy? This question has a long but unexplored history within preservation. Carlo Fea, the Italian neo-classical jurist and preservationist, passed laws to forbid overzealous collectors form taking original sculptures from churches and using poor replacement copies as payments for cash-strapped priests. But as copying techniques improved, it became common to place copies outdoors and to move original works of architecture and sculpture inside museums (think of the copies that replaced the original capitals of the Doge’s Palace, or the replica of Michelangelo’s David in Piazza della Signoria). These days, preservation and copyright are both challenged by new modes of digital production, which put new pressure on the notion of absolute authorship and ownership.

What makes mechanical architectural copies so interesting is that, even though they emerge at the same time as reproductions in other fields, they escaped the same association as representative phenomena of modernity. Yet, just like the print, the photograph, the film or the digital file, architectural copies are a product of architecture and a media form in themselves, part of an endless series of ‘aura-less’ multiplications. Legal scholar Bernard Edelman has shown how in nineteenth-century France photographs were at first considered to be mere mechanical reproductions of reality, and hence in the public domain. It was only when photography became accepted as an artistic practice that it received legal protection and ‘the real as object in law [became] susceptible to appropriation, sale and contracts’. To what degree does contemporary art still serve as the measure and instrument for the regulation of copies? Can copyright law help explain the opposition to consider preservationists as artists, or even authors? Essays may investigate these questions, as well as critically analyze modes and practices of appropriation in preservation as they compare to other fields.



La Part de l’Œil

Volume 27-28, Dossier : “Formes et forces – Topologies de l’individuation, Deleuze, Simondon”




Comme beaucoup d’activités culturelles, La Part de l’Œil traverse actuellement une situation financière particulièrement difficile. Votre fidélité nous est plus que jamais nécessaire pour poursuivre notre activité éditoriale. Vous pouvez nous aider en incitant vos amis et connaissances à s’intéresser à notre travail.

Nous avons tous vu, depuis plusieurs années, le monde de la librairie changer. Il est de plus en plus difficile pour les revues spécialisées de conserver leur visibilité en librairie. Des changements répétés de diffuseur ont encore compliqué la situation pour La Part de l’Œil. Nous sommes à présent diffusés par “Pollen diffusion”.


Job /TU Delft

Professor of Architecture of the Interior

Faculty of Architecture and the Built Environment


Closing date: 15 September, 2014


The Faculty of Architecture and the Built Environment is looking for a new professor for the chair Architecture of the Interior.

In its 105 years of existence the Faculty of Architecture and the Built Environment has built up a solid international reputation for training architects and urban planners and guiding doctoral students. With some 3,000 students and over 500 staff members, with around 230 FTEs devoted to academic positions, our faculty is one of the largest educational programmes of TU Delft and is one of the most prestigious architecture faculties in Europe. The faculty has long been known for providing a thorough design education and conducting research in the field of the built environment. Over 40 professors carry out work in a diverse range of academic areas, which together cover the entire field of the built environment. For more information, see

The Architecture Department is one of five departments in the Faculty of Architecture and the Built Environment. The department provides education and conducts research in architectural design and in architecture theory and history. The department has four design chairs in which the relation to practice plays an important role, as well as three chairs oriented towards research from methodological, historical and theoretical angles respectively.

The design chair ‘Architecture of the Interior’ approaches existing and new buildings ‘from the inside out’ and therefore emphasises the architectonic elaboration at various scales. The design of public interiors is central to this, including complexes for health care, education, sports, retail, work environments and logistical hubs such as train stations and airports. The interior is considered as an integral cultural and artistic assignment, in which organisation of the programme, spatial aspects, materials, lighting, climate control and detailing come together. The intended use and the user’s perspective are central. The chair has an existing staff of Assistant Professors, lecturers and researchers.

Call for Contributions / Book

Display Architecture: Department Stores and Modern Retail

Deadline fon abstracts: 15 july, 2014


The opening in the mid-nineteenth century of the first “cathedrals of consumption” that were the department stores gave birth to an array of strategies meant to enhance the presentation of merchandise. From innovative use of materials (glass and iron) and new lighting techniques (electricity) to new technologies of mobility (the elevator) and new spaces for socializing (art galleries, writing rooms, or dressing chambers), nothing was spared that could turn the heads of even the most adamant opponents of consumerism. The store was for display and display made the store. Strategies and techniques of display became more widely implemented and could be found in a variety of retail environments, from local mercantile shops to other modern spaces of commercial persuasion, including arcades, boutiques and malls, showrooms, and “big box” or wholesale retailers like Costco and Walmart in North America. As the twentieth century unfolded, it seemed that the “cathedrals of consumption” had opened their doors and spread their gospel across the built environment.


Call for Papers / Conference

The Global Museum: Art Museum Leadership in the 21st Century

Session at CAA Annual Conference (New York, 11-14 Feb 15)


Deadline: Jul 18, 2014


The Museum Committee of the College Art Association will hold its annual session on, “The Global Museum: Art Museum Leadership in the 21st Century,” at the College Art Association annual conference in New York.

Art museums in the twenty-first century are dynamic cultural organizations called to embrace innovation, diversity, and collaboration. Today’s art museum leaders face evolving challenges such as rapidly changing technologies, competing values and cultures, shifting patterns in philanthropy, and expanding global audiences. The forces of stability and change that drive societies are also at play within our institutions and museum leaders strive to balance being responsive to changes while maintaining core missions and values. The playing field invites diversity in all areas, yet at same time, it demands connectivity to work effectively across staff, boards, audiences, and institutions. The main goal of this session is to explore how museums leaders effectively integrate innovation and collaboration, discover the right questions, set priorities, and act strategically in this global museum context.

Panelists will engage in a discussion on the topic of leading museums in a global context at various management levels by sharing their case studies, thoughts on history and theory, and institutional perspectives. The discussion may include explorations on paradigm shifts in the 21st century and implications for museum leadership; competing visions and values that challenge leadership; organizational models; design-thinking processes; and assessments and resources for building leadership skills.


Call for Papers / Conference

Home Subjects: Domestic Space and the Arts in Britain, 1753–1900

Session at CAA Annual Conference (New York, 11-14 Feb 15)


Proposals due by 15 August 2014


Home Subjects is a new research working group which aims to illuminate the domestic display of art in Britain. Our goal is to examine the home as a place to view and exhibit works of art within the historical context of the long nineteenth century.

Recent scholarship has emphasized the importance of the house itself and notions of ‘domesticity’ as important touchstones in British culture. At the same time, art historians have tended to focus on a history of British art premised on the display of art in public; according to this important narrative, British art developed in relationship to the public sphere in the eighteenth century. Art institutions and exhibitions asserted the importance of the display of art in forming audiences into publics in cultural and political terms. Such efforts continued in the ‘exhibition age’ of the nineteenth century, when display of artwork in museums, galleries, and special exhibitions solidified the important role given to art in articulating a public sphere. This narrative overlooks the continuation of older paradigms of display, especially those premised on the private and domestic audience for works of art. Within this context, the country house takes it place alongside the townhouse as an important venue for the display of art. We aim to explore this ‘counter-narrative’ of the home as the ideal place to view works of art, a view which permeated all areas of art and design and which persisted throughout the nineteenth century, despite the prevailing narrative of the development of public museums.

Also at stake in this project is a reconsideration of domesticity and its relationship to modernity. Important recent scholarship has illuminated some of the ways in which entrenched narratives of modernity and artistic modernism were defined in opposition to the domestic sphere. In a typical avant-garde gambit, artists distinguished works of art from objects of interior decoration by rejecting the private and the domestic.


Job / MIARD tutor

MIARD – Master of Interior Architecture & Retail Design


MIARD is looking for a tutor for the next academic year to teach their history and theory courses. He or she would work with Fusun Turetken ( and others on their thematic seminars, lectures, along with various other activities throughout the year. A more descriptive text of the position is available, if needed.

He or she can contact Alex Suarez (Course Director MIARD – Master of Interior Architecture & Retail Design).


The graduation exhibition The Fabrication of Atmosphere opens on June 26th with talks by Klaske Havik & Gus Tielens OASE editors, Building Atmosphere #91 and Joshua G. Stein, principal of Radical Craft.


Piet Zwart Institute
Center for Postgraduate Studies and Research
Willem de Kooning Academy


Call for Papers / Conference

Aalto beyond Finland. Architecture and Design

2nd Alvar Aalto Researchers Network Seminar


16-18 February 2015
Rovaniemi, Finland


Deadline for a 300 words abstract: 15th June 2014.


The 2nd Alvar Aalto Researchers Network Seminar, “Aalto beyond Finland. Architecture and Design” aims to create a network of researchers interested in the work of the Finnish architect Alvar Aalto. The meeting in Rovaniemi, in February 2015, will be an opportunity to present up-to-date research and provide a significant meeting point for those fascinated by Aalto’s buildings and projects, in a relaxed and collegial atmosphere. Aalto’s work has had an exceptional impact beyond Finland since the opening of his office in Turku in 1927. Before World War II, his furniture was exhibited in strategic venues in Europe and America, from which Aalto established a solid network of professional contacts. During the post-war period, he took on many assignments and received great recognition in various foreign countries. His buildings, scattered around the world, as well as his unrealised projects, contributed to spreading Aalto’s design method in different architectural communities, thereby proving its validity outside Finland. Even countries in which Aalto did not design any projects or construct any buildings, such as Japan, Australia, New Zealand, Norway, Spain, and Portugal, were influenced by his work. Although recent scholarly studies have contributed to an exploration of Aalto’s work abroad and its impact in the international context, they are fragmented, dwelling on national questions, without a holistic view. The 2nd Alvar Aalto Researchers Network Seminar “Aalto beyond Finland. Architecture and Design” strives for a comprehensive survey of the impact of Aalto’s architectural and design works abroad, in order to highlight those thematic communalities and connections among different international experiences.


Open Lecture / Symposium

Setting Out

11th Annual AHRA Student Research Symposium

Keynote Address: Professor Anthony Vidler


19 may, 2014
School of Architecture, Landscape and the Built Environment, University College, Dublin


Irrespective of the topic and stage of advancement, every PhD candidate has to ‘set out’ in several senses, and will do so many times. Right at the very beginning, a journey is begun despite (or perhaps because of) and uncertainty about where one will end up. The seedlings of ideas are planted out to prosper of fail. Then, there is a territory to scope out for construction. Later, and repeatedly until the project’s end, things must be consciously placed in appropriate adjacencies, wares displayed. We are forever sitting out.

Setting Out is an opportunity for PhD candidates in architecture at all stages of progress to engage in critical and constructive discussion on the processes according to which their work is evolving. These ‘processes’ would cover methodologies, theoretical frameworks, experiments, interdisciplinary investigations, as well as other markers set out by researchers; their terms of engagement. The discussion will address the structures and systems adopted by research candidates to allow them map out their territory, set out their plan of work.


Call for Papers / Journal

Urban Atmospheres

Architecture and Culture, Vol. 3, Issue no. 2
Editors: Amy Kulper and Diana Periton


Submission deadline: 14 July, 2014


“From a Secondspace perspective, city space becomes more of a mental or ideational field, conceptualized in imagery, reflexive thought, and symbolic representation, a conceived space of the imagination, or what I will henceforth describe as the urban imaginary.”

- Edward W. Soja, Postmetropolis, 2000


“I want to speak of “social imaginary” here, rather than social theory, because there are important differences between the two. There are, in fact, several differences. I speak of “imaginary” (i) because I’m talking about the way ordinary people “imagine” their social surroundings, and this is often not expressed in theoretical terms, it is carried in images, stories, legends, etc. But it is also the case that (ii) theory is often the possession of a small minority, whereas what is interesting in the social imaginary is that it is shared by large groups of people, if not the whole society. Which leads to a third difference: (iii) the social imaginary is that common understanding which makes possible common practices, and a widely shared sense of legitimacy.”

- Charles Taylor, On Social Imaginary, 2004


Urban narratives, urban myths, urban legends – the fates and futures of cities have long been intertwined with the narratives that imagine, construct, propagate and dismantle them. The contemporary urban imaginary is populated by narratives of every kind – literary evocations, films, mass media descriptions in both words and images, urban geographical accounts, etc. This broadly themed issue of Architecture and Culture will explore the roles of these narratives in fleshing out and vivifying the qualitative dimensions of cities. It will consider ways in which cities and narratives are co-constitutive, hoping to generate stories that materialize urban atmospheres, and to examine cities that inspire and inform atmospheric tales.



Get every new post on this blog delivered to your Inbox.

Join other followers: