CFP Sep 5, 2013

Sessions at the EAHN Third International Conference (Turin 2014) [2]

Turin, Jun 19–21, 2014
Deadline: Sep 30, 2013

H-ArtHist Redaktion

Call for Papers for Sessions at the Third International Meeting of the
European Architectural History Network

[1] Missing Histories: Artistic Dislocations of Architecture in
Socialist Regimes
[2] The Published Building In Word And Image

Please send your proposal before September 30, 2013, by using the
special forms at


From: Carmen Popescu <>
Date: 2 sept. 2013
Subject: CFP: Artistic Dislocations of Architecture in Socialist Regimes

Missing Histories: Artistic Dislocations of Architecture in Socialist

Session at EAHN 2014 (European Architectural History Network Third
International Meeting), Turin, Italy, June 19-21, 2014.

In both heavy and less rigid socialist regimes, architectural discourses
were often the object of orchestrated tight control. Much design and
comment on architectural thinking and production at the time followed a
narrative that was approved – if not scripted – by the bureaucrats of
ideology. However, in order to avoid control over architectural language
in socialist regimes, the practice of architecture frequently found a
new voice through semantics that veered away from the usual course of
the discipline. A parallel approach that specifically addressed politics
employed the appropriation of artistic mediums. Art confronted unwritten
rules in architectural discourse in a different way, filling in the
blanks with meaningful interpretations. Various forms of visual arts –
from videos, photography and performances, to fictionalized narratives
used in movies and novels – allowed an introspection of crucial
architectural issues which would have been difficult otherwise. Even
works which were considered at the time to be purely a reflection of
propagandistic rhetoric (Shostakovich's Cheriomushky, for example)
raised questions about the limitations of the role that architecture
could assume in socialist society. Resituated in a different semantic
realm by the artistic gaze, architectural discourse was not only
distorted but also dislocated. This process of deconstruction revealed
architectural problems, allowing them to step into the public domain.
Art, therefore, not only questioned the nature and role of architecture
in those times, and the constraints shaping it, but also provided a
space of (perhaps limited) freedom of debate.

We invite papers on art forms that challenged issues in architecture
under socialist regimes. We intend to extend the traditional limits of
Eastern European regimes and include countries like China and Cuba. We
propose, at the same time, to extend the chronological frame and go
beyond the fundamental moment of 1989, requesting papers that explore
how the remains of socialist ideas of architecture are reciprocated by
contemporary art practices engaged in recent history. How have art
works, created before and after 1989 by both architects and artists,
shaped a critical discourse on the architecture of the socialist
regimes? What means were employed in this critical process?

Session chairs: Srdjan Jovanovic Weiss, Centre Research Architecture,
Goldsmiths University of London/ Carmen Popescu, University Paris


From: Anne Hultzsch <>
Date: Sep 2, 2013
Subject: CFP: The Published Building In Word And Image

The Published Building In Word And Image

Session at EAHN 2014 (European Architectural History Network Third
International Meeting), Turin, Italy, June 19-21, 2014.

What are the common grounds, or the points of divergence, between word
and image in the dissemination of architecture? The study of word-image
relations is one of the most innovative and cross-disciplinary fields to
have emerged in the humanities over the last decades. Following on from
what has been labelled the 'visual turn' in the 1990s, it attracts
scholars from disciplines as diverse as art history, linguistics,
anthropology, philosophy, or literature. This session aims at opening up
this field to architectural history, proposing to explore the effect
that the coexistence of the graphic and the verbal has on the
dissemination of architecture.

We invite papers that challenge the relationship between descriptions
and illustrations of buildings in printed and publicly disseminated
media such as newspapers, journals, pamphlets, books, or catalogues.
While recent scholarship has increasingly turned to investigate 1960s
and 1970s architectural journalism, we are particularly interested in
the 19th and early 20th century. This period, which saw the 'discovery'
of the daguerreotype, the eclipse of the engraving by the photograph, as
well the rise of the architectural magazine, has been largely overlooked
by research on architectural publication. We encourage papers on
subjects within this time frame, but also welcome work on word-image
relations in other periods.

Particularly welcome will be papers that focus on a close analysis of
specific publications, genres, or published events; as well as detailed
analyses of particular aspects such as captions, layout, content, use of
colour, literary devices, etc. Questions discussed could include, but
are not limited to: What roles do words and images, and the relationship
between both, play in the dissemination of architecture? What does the
image illustrate, what does the text describe? What is the effect of
treating word as image, or image as text? How are hierarchies between
text and graphics expressed, also in terms of content? What is the
effect of new reproductive and illustrative technologies on the style of
writing? How does a new medium, such as photography, change the form and
content of the text?

By probing the visual and the verbal at the same time, the session
intends to expand current methods of architectural historiography. In
face of an ever-growing corpus of published verbal and graphic
representations of architecture, we see an urgency to explore the
historical implications and the development of the relationship between
word, image, and building.

Session chairs:
Anne Hultzsch, University College London
Catalina Mejia Moreno, Newcastle University

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