Tag Archives: Architecture

CFP: Conquest and Construction: Architecture and Landscapes in the Medieval Mediterranean, Architecture Space and Society Research Centre, Birkbeck (University of London), March 1, 2019

CFP deadline: Monday 3 December 2018

Much recent scholarship on the medieval Mediterranean focuses on shifting borders and cultural identities. Conquest is one of the causes of such shifts. This one-day symposium will examine how the consequences of conquests were manifested in conquered cities and landscapes, asking how conquerors responded to their new environments and how conquered communities were built and re-built.

Papers might touch on any of the following in relation to conquest, conquerors or conquered territories in the Mediterranean world, in the period 500 – 1500.

  • Architecture
  • Space, landscape, urbanism, topographies
  • Architectural sculpture and decoration
  • Sacred and liturgical spaces
  • Destruction of architecture and urbanism
  • Spoliation and re-use of building materials
  • Cross-cultural exchanges through buildings, cities and landscapes
  • Conquerors as builders and patrons of architecture
  • Castles and defensive architecture
  • Written descriptions of conquered landscapes

Papers are welcome on all areas of the Mediterranean world (including the Islamic, Byzantine and Latin areas, Jewish communities, the crusades and border zones).

Please send proposals for 20-minute papers to Clare Vernon (c.vernon@bbk.ac.uk), by Monday 3 December 2018, including a paper title, an abstract (max 300 words) and contact details.

 

 

 

 

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CFP: Scaling the Middle Ages: Size and Scale in Medieval Art, 24th Annual Medieval Postgraduate Colloquium, The Courtauld Institute of Art, February 8, 2019

The Courtauld Institute of Art’s 24th Annual Medieval Postgraduate Colloquium invites speakers to consider issues and opportunities encountered by medieval artists and viewers in relation to size and scale.

Deadline: 16 November 2018

From micro-architectural reliquaries and minute boxwood prayer beads to colossal sculpture and the built spaces of grand cathedrals and civic structures, size mattered in medieval art. Examples of simple one-upmanship between the castles and palaces of lords and kings and the churches and cathedrals of abbots and bishops are numerous. How big to make it was a principal concern for both patrons and makers of medieval art. Scale could be manipulated to dramatic effect in the manufacture of manuscripts and the relative disposition of elements within their decorative programmes. Divine proportions – of the Temple of Solomon or the Church of the Holy Sepulchre – were evoked in the specific measurements and configuration of contemporary buildings and decisions were made based on concern with numbers and number sequences.

Inspired by the ‘Russian doll’ relationship between the Sainte Chapelle in Paris and its micro-architectural miniature in the form of a gilded reliquary in the Musée de Cluny, Scaling the Middle Ages seeks to explore a range of questions surrounding proportion, scale, size, and measurement in relation to medieval art and architecture. The Sainte Chapelle, built by the saint-king of France Louis IX to house the relics of Christ’s Passion, is itself often described as an over-sized reliquary turned inside-out. The Cluny reliquary – made to house relics of Saints Maxien, Lucien, and Julien held within the chapel – both complicates and compliments that comparison, at once shrinking the chapel back down to size through close architectural quotation of its form in miniature and pointing the viewer’s attention back to that same, larger space. The relationship between these two artefacts raises a host of questions, including:

Scale and making

  • How were ideas about size and scale communicated between patrons, architects, craftspeople, and artists? In an age without universal standardised units of measurement, how did craftsmen negotiate problems of scale and proportion?
  • How were the measurements of a medieval building determined? What techniques did architects, masons, and artists use to determine the scale of their work?

Scale and meaning

  • What effects were achieved and what responses evoked by the manipulation of scale, from the minute to the massive, in medieval art?
  • What was the role of proportion and scale in architectural ‘copies’ or quotations?
  • What representational problems were encountered by artists approaching out-sized subjects, such as giants?
  • How was scale manipulated in order to communicate hierarchy or relative importance in medieval art?
  • How did size and scale function in competition between patrons or communities in their artistic commissions and built environments?

Problems of scale

  • What, if anything, happened when something was the wrong size? When was something too big, or too small? And how were such problems solved by patrons and makers?
  • How does the disembodied viewing of medieval art through digital surrogates distort or assist in our perception of scale?
  • How can modern measuring techniques and digital technology enhance our understanding of medieval objects and buildings?

Applicants to the colloquium are encouraged to explore these and related issues from a diverse range of methodologies, analysing buildings and objects from across the Middle Ages (broadly understood in geographical and chronological terms). The Medieval Postgraduate Colloquium offers an opportunity for research students at all levels from universities across the UK and abroad to present, discuss and promote their research.

To apply, please send a proposal of up to 250 words for a 20-minute paper, together with a CV, to teresa.lane@courtauld.ac.uk and oliver.mitchell@courtauld.ac.uk no later than 16 November 2018.

Organised by Oliver Mitchell and Teresa Lane (The Courtauld Institute of Art)

Click here for more information:

Conference: Gotik global – kolonial – postkolonial, Dresden, October 26–7, 2018

prac3a7a_da_se_03Dresden, Technische Universität, Institut für Kunst und Musikwissenschaft, Raum ABS/E08/H, 26. – 27.10.2018

Gotik global – kolonial – postkolonial: Gotisierende Sakralarchitektur auf der Iberischen Halbinsel und in Lateinamerika vom 19. bis zum 21. Jahrhundert

Tagung der Technischen Universität Dresden, Institut für Kunst- und Musikwissenschaft der Philosophischen Fakultät in Zusammenarbeit mit der Carl Justi-Vereinigung e.V.

Immer wieder werden im iberischen und iberoamerikanischen Raum – wie weltweit –  auch heute noch gotisierende Kirchen errichtet. Einige sind typisch für die Neugotik, andere, wie die Almudena-Kathedrale in Madrid oder diejenige von Vitoria-Gasteiz, scheinen als verspätete Bauten des 20. Jahrhundert aus europäischer Sicht aus der Zeit gefallen zu sein. Doch wird gerade in Lateinamerika bis heute an zahlreichen solcher Projekte weitergebaut.
So scheint es zunächst sinnvoll zu überprüfen, ob die stillschweigende Annahme, „die Gotik“ sei eine abgeschlossene Stilepoche, aus globaler Perspektive überhaupt stimmt. Wie ging die zweifellos zunächst kolonial begründete Gotik-Ausbreitung in den überseeischen Gebieten der ehemals spanischen und portugiesischen Weltreiche in eine eigene postkoloniale Adaption über, welche Gründe gab es hierfür und welche stilistischen Ausprägungen wurden und werden gefunden? Wie begann die Entwicklung in den „Mutterländern“? Ist sie dort und in den ehemaligen Kolonien ähnlich oder unterschiedlich verlaufen, gibt es fortdauernde Verbindungen? Lassen sich Parallelen in anderen Weltregionen beobachten? Sind die Phänomene alleine auf die Gotik beschränkt oder gibt es Parallelen für andere Stile?
Im Workshop der Carl Justi-Vereinigung e.V. soll diese Problematik stichprobenartig untersucht werden. Denn ein systematischer Gesamtüberblick ist zur Zeit kaum möglich, sind doch nicht einmal die potenziell wichtigsten Bauten bekannt.

PROGRAMM:
FREITAG, DEN 26.10.2018

Eröffnung / Begrüßung / Einführung
9.30 Uhr
Grußworte
Prof. Dr. Antonio Hurtado (Dresden), Prorektor der TU Dresden
Prof. Dr. Lutz Hagen (Dresden), Dekan der Philosophischen Fakultät
Prof. Dr. Margit Kern (Hamburg), Vorstand der Carl Justi-Vereinigung e.V.

10.00 Uhr
Bruno Klein (Dresden): Gotische Architektur des 20. und 21. Jahrhunderts –
global – kolonial − postkolonial

10.45 Uhr
Pablo de la Riestra (Nürnberg/Buenos Aires): Einmal Gotik – immer Gotik

11.30 Uhr Pause

Von der Neugotik zur Moderne:
Kastilische und katalanische Beispiele
12.00 Uhr
Henrik Karge (Dresden):
Vicente Lampérez y Romea – Gotik als Idealbild und historisches Phänomen

12.45 Uhr
Judith Urbano (Barcelona): La finalización de la Catedral de Barcelona y otros proyectos neogóticos de Augusto Font y Carreras

13.30 Uhr Pause

15.30
Joan Molet Petit (Barcelona):
Las interpretaciones del gótico en la obra del arquitecto Josep Vilaseca, entre lo arqueologista y lo victoriano

16.15 Uhr
Sergio Fuentes Mila (Barcelona): Revisitar el gótico en la arquitectura civil barcelonesa de finales del siglo XIX. El caso del arquitecto José Doménech y Estapá (1858-1917)

17.00 Uhr
Bettina Marten (Bonn/Dresden): Considerations on the Almudena-Cathedral at Madrid

18.00 Mitgliederversammlung der CJV

20.00 Uhr
Gemeinsames Abendessen

SAMSTAG,  DEN 27.10.2018

Die „moderne“ Neugotik in Lateinamerika
10.00 Uhr
Bruno Klein: Einführung

10.15 Uhr
Martín Checa Artasu (Mexiko-Stadt/Barcelona):
The religious orders as diffusers of the neo-gothic architecture in Latin America

11.00 Uhr
María Aranda Alonso (Madrid/Dresden):
El templo de la Merced de San José de Costa Rica : Punto de partida para estudiar el neogótico en Centroamérica

11.45 Uhr
Paula Vermeersch (São Paulo):
O processo construtivo da Catedral da Sé, São Paulo, 1911-1954

12.30 Uhr
Barbara Borngässer (Dresden):
Neugotik und Moderne im Süden Brasiliens: Die Kirchenbauten Gottfried Böhms

13.15 Uhr
Abschlussdiskussion

16.00 Uhr
Besichtigung aktueller „gotischer“ Architektur in Dresden (Schlosskapelle,  Sophienkirchen-Monument)

Kontakt:
bruno.klein@tu-dresden.de
barbara.borngaesser@online.de
bettina.marten1@tu-dresden.de

Symposium: Winchester, Early Medieval Power and Faith

Screen Shot 2018-09-19 at 9.35.28 AMA one-day symposium dedicated to exploring the great churches of Winchester at the time of the Anglo-Saxons and Normans.

Saturday 20 October 2018

9.30am – 5.00pm

The King Alfred Conference Chamber, Guildhall, Winchester, SO23 9GH

Join historians, experts, and enthusiasts at this one day symposium exploring the great churches of Winchester at the time of the Anglo-Saxons and Normans. This symposium will cover everything from grand church architecture, manuscript studies, Anglo-Saxon folklore, and early Norman politics and relationships with Winchester.

Register by 1 October and receive the early bird price of only £55.

For more information, please visit https://www.hampshireculture.org.uk/winchester-early-medieval-power-faith.

Winchester, Early Medieval Power and Faith is the third public event of Winchester, The Royal City, a project which aims to celebrate and promote the ancient city as a centre of key significance to the development of England and English Culture.

CFP: Eclecticism at the Edges: Medieval Art and Architecture (Princeton, 5-6 Apr 19)

nevski80Princeton University, April 5 – 06, 2019
Deadline: Aug 15, 2018

Eclecticism at the Edges: Medieval Art and Architecture at the Crossroads of the Latin, Greek, and Slavic Cultural Spheres (c.1300-c.1550)

Organizers:
Alice Isabella Sullivan, Ph.D. (University of Michigan)
Maria Alessia Rossi, Ph.D. (The Index of Medieval Art, Princeton University)

Description:
In response to the global turn in art history, this two-day symposium explores the temporal and geographic parameters of the study of medieval art, seeking to challenge the ways we think about the artistic production of Eastern Europe. Serbia, Bulgaria, and the Romanian principalities of Wallachia, Moldavia, and Transylvania, among other centers, took on prominent roles in the transmission and appropriation of western medieval, byzantine, and Slavic artistic traditions, as well as the continuation of the cultural legacy of Byzantium in the later centuries of the empire, and especially in the decades after the fall of Constantinople in 1453.

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Secret Spaces: Medieval Sacristies, Vestries, Treasure Rooms and their Contents

salisbury-cathedral_549x432

Salisbury Cathedral Treasure House, Upper Champber, from “Pituresque Memorials of Salisbury” by Peter Hall (1834), courtesy of the Society of Antiquaries.

The aim of the conference is to introduce the subject of ecclesiastical treasure houses to both the academic world and the wider public.

Treasure houses take the form of small buildings attached as annexes to the cathedrals and churches which they served. Their function as store houses of the priceless ecclesiastical treasure belonging to the church meant that they were accessible to only a few privileged individuals but many are resplendent pieces of architecture in their own right. Recently Yves Gallet, in discussing an ambitious vault within the thirteenth-century treasure house of Saint-Urbain, Troyes, noted that ‘it is curious that they should have placed such a spectacular and up-to-date ornament in a place where it was never going to be seen’. Notable treasure houses in Britain are attached to the cathedrals of Canterbury, Lincoln, Wells, and Bristol, to name but a few. However, medieval ecclesiastical treasure houses existed everywhere in the medieval West and this will be reflected in the conference, which will bring together scholars from different countries. Ecclesiastical treasure houses also stored money, the presence of which necessitated the activities of depositing, guarding and counting. The ecclesiastical treasure house thus occupied a fault line between two opposing ideologies in medieval Christian thinking, the first condemning the accumulation of worldly treasure and the second promoting its use for God’s service.

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