Past Events

This page provides links and information about relevant past events.

13th International Design and Design History Symposium “Design and Authority”

Izmir, Turkey

May 02 2019 - May 04 2019

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13th International Design and Design History Symposium

"Design and Authority"

Dates: May 2-4, 2019

Call for Papers: January 25, 2019

Location: Izmir, Turkey

email: .(JavaScript must be enabled to view this email address)



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CFP: Facing Post Socialist Heritage / Conference

Call for Abstracts


March 04 2019 - March 04 2019

Event web site

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Call for Abstracts (deadline: 04 March 19)

Guidelines and Instructions

Site of the conference:

Contacts: .(JavaScript must be enabled to view this email address)

Facing Post-Socialist Urban Heritage

4-5 October 2019, Budapest, Hungary

The third international doctoral / postdoctoral conference organised by the Department of Urban Planning and Design, Faculty of Architecture, Budapest University of Technology and Economics (BME).

Throughout Europe, current urban challenges are posed by large-scale ensembles of modernity as a result of post-WWII development on both sides of the Iron Curtain. The urb/doconf 2019 is the third in a series of a doctoral / postdoctoral conference, to be organised on a biannual basis, which will provide a comparative overview of current doctoral research into the physical - built and natural - environment within post-socialist cities in Central and Eastern Europe (CEE), and post-soviet Asia.

Those invited include doctoral researchers – doctoral students, candidates or post-doctoral researchers (maximum five years after obtaining the doctorate degree) - specializing in architecture, urban design, urban planning or landscape architecture. The BME Department of Urban Planning and Design wishes to promote cooperation among doctoral institutions, building up a network for future generations of scholars through their specific fields of research related to post-socialist urban heritage.

Main Conference Topics

The doctoral conference series is dedicated to post-WWII (after 1945) urban heritage of post-socialist cities focusing on the main research topics of the department. In order to compare different perspectives, we welcome papers examining the physical environment under the following sessions:

1. mass housing neighbourhood

2. urban space for reuse

3. waterside urban fabric and landscape transformation

Considering the three main conference topics/sessions, we are interested in different research methodologies: theoretical frameworks, comparative studies, morphological case studies, historic approach, research by design methodology, etc.  

We seek contributions that (i) test the post-war heritage positions in the changing ideological context after the fall of the Iron Curtain, (ii) investigate the mutual impact of the spatial turn and the critique of functionalism on urbanity, or (iii) examine the role of post-socialist legacy in the formation of new identities.

In addition to theoretical questions, we wish to find pragmatic approaches when responding to the new challenges of sustainability and determining what kind of protection tool-kit is capable of addressing large-scale ensembles problems. Our aim is to discover special similarities and dissimilarities within the physical environment of post-socialist cities, discuss a wide range of options (from preservation to sustainable renewal processes) and create a network of doctoral researchers.

Abstract Submission

Please send an extended abstract (400-500 words) and a brief academic biography (70-100 words).

Please use the template on the website:

Send your abstract to: .(JavaScript must be enabled to view this email address)

Abstract deadline – 04 March 2019  / notification of acceptance – 31 March 2019


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The Colin Rowe Lecture Series: Claire Zimmerman

Royal Institute of British Architects

December 04 2018

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In an informal setting and in dialogue with experienced and imaginative guests, The Colin Rowe Lectures aim to discuss the role of the image in architecture, particularly the crucial role of architectural photography. The lectures are considered as an open forum of discussion for architects, photographers, students and he simply curious. All are welcome.

The title of our next lecture is "Hidden in Plain Sight: Photography, Architecture, and the United States 'military-industrial complex'" and will be delivered by Claire Zimmerman, associate professor in History of Art and the Architecture Program at the University of Michigan, and Director of Doctoral Studies in Architecture at the Taubman College of Architecture and Urban Planning.

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A World of Architectural History

Bartlett School of Architecture, Bartlett Faculty of the Built Environment, University College London, UK

November 02 2018 - November 04 2018

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The conference’s aim is to critique and celebrate the latest advances within architectural history globally over the last few decades, by focusing upon the word ‘global’ in two senses: 

  • Geographically, referring to the increasing inclusion of all parts of the world in more complex and multiple discourses of architectural history;
  • Intellectually, the ongoing expansion of architectural history into other academic subjects, plus the reception of ideas/themes from those subjects.

The conference will take place around the same time as the publication of Sir Banister Fletcher’s Global History of Architecture (Bloomsbury Press), although as a separate event. Recognition will be given to a more inclusive approach to architectural history that seeks to incorporate the histories of all countries/regions, and to the significant contributions now being made through interdisciplinary links with other subjects. As such, the conference will represent the forefront of the field internationally and also discuss where architectural history ought to head in future. Conference presenters will include those from the wide range of subject areas within the Bartlett Faculty of the Built Environment and leading figures in architectural history across the world. Papers will consist of a balance of those by invited speakers and those selected via an open call.

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10th Anniversary of the Walton Critic Program at CUA-Washington-DC

The Catholic University of America, Washington, DC

October 24 2018 - October 27 2018

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The Catholic University of America School of Architecture and Planning has organized a major event celebrating its 10th Anniversary of the Walton Critic program. It will take place October 24-27, 2018 in Washington, DC. As this link indicates (, we are going to have 6 past/present Walton critics visiting our school to lecture, participate in a panel discussion, give design crits to all our students, and more! They are Juhani Pallasmaa (2011 Walton Critic, Finland), Alberto Campo Baeza (2012 Walton Critic, Spain), Eliana Bormida (2014 Walton Critic, Argentina), Mike Crosbie (2015 Walton Critic, USA), Prem Chandavarkar (2016 Walton Critic, India), and Susan Jones (2018 Walton Critic, USA).

This event (lectures, crits, round-table, receptions) are all free and open to the public. The schedule of the lectures is available here: . Questions may be directed to Professor Julio Bermudez at .(JavaScript must be enabled to view this email address)

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Interstices Journal of Architecture and Related Arts Issue 21: Presence

Call for Papers

October 12 2018 - October 12 2018

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Submission deadline 12th October

Buildings, cities, landscapes, sculptures, paintings, and music, even, are already physically present and persisting in a present. Why theorise their presence, and what relevance could such a notion have for arts rooted in space?

The contemporary emphasis on the physical, material, performative and atmospheric – rather than on meaning – is a reaction against the overly discursive and semiotic strains of ‘80s post-modernism, when the identification and attribution of meaning became a core practice of architectural thought. Afterwards, materiality and its effects assumed what Hans Ulrich Gumbrecht terms a “non-hermeneutic” presence (2004: 1-20), coinciding with the much vaunted ‘post-theory’ in architecture and its rejection of criticality. Today, we no longer believe that theory has been surpassed, nor, by the same token, that a complex of meanings can be kept separate from its mediality, that is, from material. Neither is pure manipulation of data, without aesthetic and bodily intention, able to produce architecture. The material and the immaterial are not easily divided.

While presence concerns communication, it concerns space even more—through its occupation (or dis-occupation) and activation. Gumbrecht reminds us that, what is ‘present’ to us (in the sense of the Latin prae-esse), is “in front of us, in reach of and tangible for our bodies” (17). He reminds us also of George Steiner’s remarks that the arts, “wonderfully rooted in substance, in the human body, in stone, in pigment, in the twanging of gut or the weight of wind on reeds”, begin, but do not end, in immanence. The task of the aesthetic is to “quicken into presence the continuum between temporality and eternity, between matter and spirit, between man and ‘the other’” (Steiner, 1989: 227).

Absence of presence is not the same as presence of absence, in which traces, silences or voids powerfully embody (and make present) something not present. For example, the voids of Berlin: Daniel Libeskind, Peter Eisenman; or the voids of Eduardo Chillida, Jorge Oteiza and Tadao Ando; the silence of John Cage and the  of Toru Takemitsu—they all involve experience and affect. By contrast, representation seems to be involved with the “age of the sign” and “conceptual deduction” (Gumbrecht, 2004: 57). However, as Jean-Luc Nancy points out in France, representation “is as old as the West”, and maybe there is “no humanity (and, perhaps, no animality) that does not include representation” (1993: 1). Nancy’s conception of presence does not refer to a permanent state, but to nascence: “Presence itself is birth, the coming that effaces itself and brings itself back” (5). Gumbrecht relates this wavering to the double movement of withdrawal and unconcealment in Martin Heidegger, particularly in relation to his account of a Greek temple in terms of presence via the notions of “earth” and “world”. Here, “the sheer presence of the temple triggers the unconcealment of a number of things—in their thingness—that surround the temple” (Gumbrecht, 2004: 73). For Nancy the very act and pleasure of drawing, insofar as it is “the opening of form” (2013: 1), is also a nascence. What would it mean for a drawing, building, artwork or poem to perform or keep alive the performance of its birth? Perhaps the malleability of Alvaro Siza’s works (Molteni 2003) or Lemi Ponifasio’s irruptive choreography (Ponifasio, 2009) provide some hints to the potential of works’ in statu nascendi. 

In addition, a human tendency to endow buildings and artworks with life includes practices involving the holy and tapu, such as sacrifice, rites of foundation and the address to a living ancestor (in whare and fale, for example). These frame, stage and enact the effect of “living presence” – exceeding an aesthetic stance of disinterested contemplation of art’s formal qualities (Eck, 2015: 172). “Studying what makes viewers deny the representational character of art”, argues van Eck, “will help understanding why art is such a universal feature of human life” (209). After all, “aesthetic experience” provides feelings of intensity unknown in specific everyday worlds; there is no aesthetic experience without presence effects emerging seemingly out of nowhere.

In all fields of art practice, what might be the status of presence in Virtual Reality and digital representation obsessed with verisimilitude? How can even purposeful design, particularly in an era of parametricism, retain an element of the status nascendi, as unprogrammed (or even unprogrammable) emergence? The “joy of averring oneself to be continually in the state of being born—a rejoicing of birth, a birth of rejoicing” (Nancy, 1993: back cover) requires an acceptance, even embrace, of the fact that existence “comes nude into the world”.

It is with this sense of Presence that we invite you to submit a paper for the forthcoming issue of Interstices. For various publishing options and the required formatting, please refer to the Guidelines for Submissions on the Interstices website.

Call for Papers Interstices: Journal of Architecture and Related Arts invites submissions for issue 21 of the journal due for publication in March 2019. Authors may submit academic and practice-oriented, fully written as well as visual, contributions for this issue.

Please submit full papers for the Interstices 21 journal issue to Sue Hedges (.(JavaScript must be enabled to view this email address)) by 12th October 2018.
Submissions may comprise up to 5000 - 7000 word papers or visual/audio/moving image works with an accompanied text of approximately 500 words. All submission will be double blind refereed.
The journal’s non-refereed section welcomes papers up to 2500 words, as well as project reports and reviews of up to 1000 words. Visit our website to view the Guidelines for Submissions for details about the reviewing process, copyright issues and formatting:

We look forward to your contribution!

Journal editors: Andrew Douglas, Susan Hedges, Ross Jenner,


Eck, C. (2015). Art, agency and living presence: From the animated image to the excessive object. Boston, MA: De Gruyter.

Gumbrecht, H. U. (2004). Production of presence: What meaning cannot convey. Stanford, CA: Stanford University Press.

Nancy, J-. L. (1993). The birth to presence (B. Holmes Et Al. Trans.). Stanford, CA: Stanford University Press.

Nancy, J. L. (2013). The pleasure in drawing (P. Armstrong, Trans.). Oxford, UK: Oxford University Press.

Ponifasio, L. (2009) Tempest : Without a body [performance] Retrieved from

Molteni, E. (2008). “Comme un sculpteur, on doit maintenir l’argile humide”. Casabella, 763, 11.

Steiner, G. (1989). Real presences: Is there anything in what we say?. London, UK: Faber.


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