Podcasts about architectural historians

On Today's episode we cover: Understanding anxiety and our anxious thoughts Why understanding the “root” of your anxiety isn't really that important What are values and how they are crucial for creating change in our life The power of “acceptance” and how it is different than apathy Why “thinking positive” may be doing more harm than you think Panic attacks + cognitive fusion 101About Dr. Chad:Chad LeJeune, PhD is a clinical psychologist and professor of psychology at the University of San Francisco. He is a founding fellow of the Academy of Cognitive and Behavioral Therapies, and has been a practitioner of Acceptance and Commitment Therapy since its inception 30+ years ago.In addition to his self-help titles, Dr. LeJeune has published a novel and a collection of short stories. He has studied architectural history at Oxford University, and as a member of The Society of Architectural Historians, leads architecture tours across San Francisco.To Connect with Dr. Chad:www.anxietyhappens.comP.S. We are doing a giveaway! Leave a review on ⁠Spotify⁠ or ⁠Apple⁠ and enter to win a $100 gift card, now through March 15th. Leave a review and email a screenshot to "assistant@theotherwaypodcast.com"

Episode 184: Activating Ruins and Performing Power in Colonial Carthage In the decades leading up to, and during, the French Protectorate (1881–1956), the excavation of ruins became a critical component of a colonialist modernizing practice that saw North Africa's ancient imperial and early Christian pasts as tangible justification for European dominance. Sites were not only unearthed, but their ruins were consolidated, restored, activated, and fabricated as backdrops for highly staged and politically significant events, and thus the enactment of France's “civilizing mission.” This conversation considers several case studies that illustrate the exploitation of ruins in the operation of the colonialist imagination and power relationships. Based on archival and on-site research, it explores the use of Carthage's Roman theatre by the Carthage Institute for a series of drama festivals in the early 1900s, as well as the Catholic Church's 1930 International Eucharistic Congress, elements of which were scattered across the ruin-rich city's many sites. These events, which aimed to add legitimacy to the French and Catholic presence by emphasizing continuity and revival, involved excavation and restoration work, as well as the participation of set designers and artists who took considerable liberties in their contributions to the events' mélange of site-specific history and ephemeral fantasy. Together these cases illuminate the intersection of archaeology, politics, and architecture, as well as the academy, the colonialist Church and state, and several creative fields in bringing ruins from the orientalist imagination to the real world of French-occupied Tunisia. Daniel E. Coslett is an assistant professor of architectural history at Drexel University (Philadelphia, USA) and was a 2005–06 Fulbright student researcher in Tunisia. A scholar of colonial and postcolonial built environments in North Africa and the wider Mediterranean region, his work addresses intersections of architecture, heritage, archaeology, and tourism. Coslett has published several edited volumes and book chapters on colonial architecture, global built environments, and heritage, as well as articles in publications including the Journal of North African Studies, the International Journal of Islamic Architecture, and Public Historian. He is an active member of the Society of Architectural Historians and an assistant editor for the International Journal of Islamic Architecture. This episode was recorded on the 3rd of august, 2023 by the Centre d'Études Maghrébines à Tunis (CEMAT).  Posted by Hayet Lansari, Librarian, Outreach Coordinator, Content Curator (CEMA).  

In this episode we talk about architectural and aurality, asking what impact radio had on architecture, architects and public audiences. Our Contributors: Olga Touloumi is Associate Professor of Architectural History at Bard College. Her research concerns questions of globalization and media in twentieth architecture. Her first book Assembly by Design situates mid-20th century architectural constructions of global governance within debates on media democracies and liberal internationalism. Touloumi has co-edited Sound Modernities, a volume on how acoustics and sound technologies transformed modern architectural culture during the twentieth century; and with Theodora Vardouli Computer Architectures: Constructing the Common Ground, a volume about the exchanges between designers and computational technologists in Europe and North America. Shundana Yusaf is Associate Professor of History and Theory at the School of Architecture, University of Utah. Her scholarship juxtaposes colonial/ postcolonial history with sound studies in architecture. Her first book is Broadcasting Buildings: Architecture on the Wireless, 1927-1945 (Cambridge: MIT Press, 2014). Her current book is called Resonant Tombs: A Feminist History of Sufi Shrines in Pakistan. As its starting point, it takes sound as an architectural material of construction and women as secondary architects, collectively nestling ephemeral auditory monuments with their bodily resources within material monuments built by heroic men with material resources.  Details of audio clips: Movietone News newsreel of First United Nations General Assembly at Westminster Hall 1946 https://www.youtube.com/watch?v=3em8Yvf13y4 British Pathe newsreel U.N. Hears President - Kennedy Asks Joint US - Soviet Moon Trip, 1963 https://youtu.be/iBcfSqwvVlg?si=iS7nJ0aIRIjbMFzp Charlie Chaplin - Adenoid Hynkel Speech - The Great Dictator (1940) https://youtu.be/isLNLpxpndA?si=iWZNmbzMehKQwT9y The Society of Architectural Historians of Great Britain brings together all those with an interest in the history of the built environment – academics, architects, heritage experts and the wider public. As the leading body in the field, we believe that appreciation of architectural history plays a vital role in understanding our culture, past and present. With the help of our members, we publish new research, organise a broad range of events, provide educational opportunities and advance the understanding of the built histories of all periods and places, in Britain and beyond. Membership https://www.sahgb.org.uk/

When Piri Reis sailed around the Mediterranean, mapping every inch of coastline, it was the height of the Renaissance. The Renaissance, literally meaning “rebirth,” was a period of revival of classical thoughts in economics, politics, and art, which will be the center of attention for this episode. From vivid depictions of the Piazza San Marco to the fountains of lions, Piri reflects a surprising Ottoman fascination with Italian Renaissance art. Researchers and Hosts: Annie Goldberg, Aidan Mehta, Peter Pigliucci, Miles Riah, Erika Takai, and Derek Zeng Image: “Western Italian coastline as far as Naples and the island of Ischia,” The Book of Navigation, The Walters Art Museum, ms W658. f.238b. Music Credits: Bram, “Bram_versus_plaga_fountain_inside_church2.wav.” Copyc4t, “The Global Voice - Italian announcement.” Craigsmith, “R04-42-Deep Bell.wav.” Dibko, “Walking past people and things.wav.” Fesliyan Studios, “Turning-Paper-Book-Page-Med-Speed-A1.” Fesliyan Studios, “Turning-Paper-Book-Page-Slow-A1.” Fesliyan Studios, “Turning-Paper-Book-Page-Snappy-A1.” Steve Oxen, “Tarentella.” Steve Oxen, “Riviera Walk.” Pfannkuchn, “Sailing boat, bow wave (distant perspective).” References: Contadini, Anna and Dr. Claire Norton. The Renaissance and the Ottoman World. Farnham, Surrey, UK; Burlington, VT: Ashgate, 2013. de Divitiis, Bianca . “Giuliano Da Sangallo in the Kingdom of Naples: Architecture and Cultural Exchange.” Journal of the Society of Architectural Historians 74, no. 2 (2015): 152–78. “Gentile Bellini.” Britannica. https://www.britannica.com/biography/Giovanni-Bellini-Italian- Painter. Guglielmo. “Neptune Fountain: Naples-Napoli.” Naples, March 26, 2018. https://www.naples- napoli.org/en/neptune-fountain/. Worringer, Renée. A Short History of the Ottoman Empire. Toronto, Ont: University of Toronto Press, 2021.

This episode features a conversation between Nakita and Lauren McHale, President and CEO of the L'Enfant Trust. They talk about the organization's work in historic preservation and affordable housing in Washington, DC and delve into preservation easements, the redevelopment of the Big Green property in Anacostia, and the importance of community engagement and collaboration in affordable housing projects.Building Highlight: The Big Green property in Anacostia is being rehabilitated as workforce housing, with a focus on engaging the existing community and preserving the neighborhood's history. Head over to our Instagram page to see historic and current photos.Links:The L'Enfant Trust websiteManna HomesNakita Reed's upcoming keynotesTangible Remnants on InstagramTangible Remnants WebsiteLinkedTr.ee for resourcesEarn CEUs for listening to this podcastSignup for Ask Me Anything w/ Nakita ReedGabl Media NetworkSarah Gilberg's MusicBio: Lauren McHale Lauren was appointed President of The L'Enfant Trust in 2017, after serving as Executive Director and Director of Preservation. In 2012, she initiated the Trust's Historic Properties Redevelopment Program. Lauren has a B.A. in Art History and Historic Preservation & Community Planning from the College of Charleston and a M.S. in Historic Preservation from the School of the Art Institute of Chicago. She is the past Chair of the Preservation Action Foundation and Past President of the Latrobe Chapter of the Society of Architectural Historians. Lauren currently serves as an ACE DC Mentor Program board member and a citizen member of the Planning, Zoning and Economic Development Committee of Washington, DC's Advisory Neighborhood Commission 6C.**Some of the links above maybe Amazon affiliate links, which means that if you choose to make a purchase, I will earn a commission. This commission comes at no additional cost to you.**

In Taking the Soviet Union Apart Room by Room: Domestic Architecture Before and After 1991 (Northern Illinois UP, 2023) Kateryna Malaia examines the transformation of domestic spaces and architecture during the period of perestroika (1985-1991) and the first post-Soviet decades. In analysing how Soviet and post-Soviet city dwellers altered their homes amidst a period of profound socio-cultural change, Malaia provides unique insight into the relationship between the transformation of domestic spaces and the transition of Soviet urbanites into post-Soviet citizens. Kateryna Malaia is an Assistant Professor of Architecture at the University of Utah. Her research focuses on the evolution of residential architecture, the politics of monument construction and demolition, how the collapse of the USSR has transformed urban dwellings, and housing insecurity. Malaia's writing has been published in East/West: Journal of Ukrainian Studies, PLATFORM, Architectural Histories, and the Journal of the Society of Architectural Historians. Iva Glisic is a historian and art historian specialising in modern Russia and the Balkans. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In Taking the Soviet Union Apart Room by Room: Domestic Architecture Before and After 1991 (Northern Illinois UP, 2023) Kateryna Malaia examines the transformation of domestic spaces and architecture during the period of perestroika (1985-1991) and the first post-Soviet decades. In analysing how Soviet and post-Soviet city dwellers altered their homes amidst a period of profound socio-cultural change, Malaia provides unique insight into the relationship between the transformation of domestic spaces and the transition of Soviet urbanites into post-Soviet citizens. Kateryna Malaia is an Assistant Professor of Architecture at the University of Utah. Her research focuses on the evolution of residential architecture, the politics of monument construction and demolition, how the collapse of the USSR has transformed urban dwellings, and housing insecurity. Malaia's writing has been published in East/West: Journal of Ukrainian Studies, PLATFORM, Architectural Histories, and the Journal of the Society of Architectural Historians. Iva Glisic is a historian and art historian specialising in modern Russia and the Balkans. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/russian-studies

In Taking the Soviet Union Apart Room by Room: Domestic Architecture Before and After 1991 (Northern Illinois UP, 2023) Kateryna Malaia examines the transformation of domestic spaces and architecture during the period of perestroika (1985-1991) and the first post-Soviet decades. In analysing how Soviet and post-Soviet city dwellers altered their homes amidst a period of profound socio-cultural change, Malaia provides unique insight into the relationship between the transformation of domestic spaces and the transition of Soviet urbanites into post-Soviet citizens. Kateryna Malaia is an Assistant Professor of Architecture at the University of Utah. Her research focuses on the evolution of residential architecture, the politics of monument construction and demolition, how the collapse of the USSR has transformed urban dwellings, and housing insecurity. Malaia's writing has been published in East/West: Journal of Ukrainian Studies, PLATFORM, Architectural Histories, and the Journal of the Society of Architectural Historians. Iva Glisic is a historian and art historian specialising in modern Russia and the Balkans. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/architecture

In Taking the Soviet Union Apart Room by Room: Domestic Architecture Before and After 1991 (Northern Illinois UP, 2023) Kateryna Malaia examines the transformation of domestic spaces and architecture during the period of perestroika (1985-1991) and the first post-Soviet decades. In analysing how Soviet and post-Soviet city dwellers altered their homes amidst a period of profound socio-cultural change, Malaia provides unique insight into the relationship between the transformation of domestic spaces and the transition of Soviet urbanites into post-Soviet citizens. Kateryna Malaia is an Assistant Professor of Architecture at the University of Utah. Her research focuses on the evolution of residential architecture, the politics of monument construction and demolition, how the collapse of the USSR has transformed urban dwellings, and housing insecurity. Malaia's writing has been published in East/West: Journal of Ukrainian Studies, PLATFORM, Architectural Histories, and the Journal of the Society of Architectural Historians. Iva Glisic is a historian and art historian specialising in modern Russia and the Balkans. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/eastern-european-studies

In Taking the Soviet Union Apart Room by Room: Domestic Architecture Before and After 1991 (Northern Illinois UP, 2023) Kateryna Malaia examines the transformation of domestic spaces and architecture during the period of perestroika (1985-1991) and the first post-Soviet decades. In analysing how Soviet and post-Soviet city dwellers altered their homes amidst a period of profound socio-cultural change, Malaia provides unique insight into the relationship between the transformation of domestic spaces and the transition of Soviet urbanites into post-Soviet citizens. Kateryna Malaia is an Assistant Professor of Architecture at the University of Utah. Her research focuses on the evolution of residential architecture, the politics of monument construction and demolition, how the collapse of the USSR has transformed urban dwellings, and housing insecurity. Malaia's writing has been published in East/West: Journal of Ukrainian Studies, PLATFORM, Architectural Histories, and the Journal of the Society of Architectural Historians. Iva Glisic is a historian and art historian specialising in modern Russia and the Balkans. Learn more about your ad choices. Visit megaphone.fm/adchoices

In Taking the Soviet Union Apart Room by Room: Domestic Architecture Before and After 1991 (Northern Illinois UP, 2023) Kateryna Malaia examines the transformation of domestic spaces and architecture during the period of perestroika (1985-1991) and the first post-Soviet decades. In analysing how Soviet and post-Soviet city dwellers altered their homes amidst a period of profound socio-cultural change, Malaia provides unique insight into the relationship between the transformation of domestic spaces and the transition of Soviet urbanites into post-Soviet citizens. Kateryna Malaia is an Assistant Professor of Architecture at the University of Utah. Her research focuses on the evolution of residential architecture, the politics of monument construction and demolition, how the collapse of the USSR has transformed urban dwellings, and housing insecurity. Malaia's writing has been published in East/West: Journal of Ukrainian Studies, PLATFORM, Architectural Histories, and the Journal of the Society of Architectural Historians. Iva Glisic is a historian and art historian specialising in modern Russia and the Balkans. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week on 'Radio Architecture with Ilana Razbash', Ilana's special guest is Professor Paul Walker. Paul Walker is a professor of architecture at the University of Melbourne where he teaches architectural history, theory and design. He has written widely about modern and contemporary architecture in Australia and New Zealand and about British colonial architecture in various locations. Walker is a life member of the Society of Architectural Historians, Australia and New Zealand. His work has appeared in the Journal of Architecture, Fabrications, CLOG, Architecture Australia, Journal of the Society of Architectural Historians, and Volume. Walker is the editor and lead author of John Andrews: Architect of Uncommon Sense, Harvard Design Press 2023.

EPISODE 1786: In this KEEN ON show, Andrew talks to Abby Smith Rumsey, author of MEMORY, EDITED, about what we should remember and what we should forget about historyAbby Smith Rumsey is an intellectual and cultural historian. She focuses on the impact of information technologies on perceptions of history, time, and identity, the nature of evidence, and the changing roles of libraries and archives. Her most recent book is When We Are No More: How Digital Memory is Shaping our Future (2016). Rumsey served as director of the Scholarly Communication Institute at the University of Virginia; Director of Programs at the Council on Library and Information Resources; and manager of programs relating to preservation of and access to cultural heritage collections at the Library of Congress. She served on the National Science Foundation's Blue Ribbon Task Force on the Economics of Digital Preservation and Access; the American Council of Learned Societies' Commission on the Cyberinfrastructure for the Humanities and Social Sciences; and the Library of Congress's National Digital Information Infrastructure Program. Board service includes: Chair, the Center for Advanced Studies in the Behavioral Sciences; the Radcliffe Institute's Schlesinger Library Advisory Council; the Stanford University Library Advisory Committee; the Society of Architectural Historians; the Rare Book School at the University of Virginia; and the Harvard Board of Overseers Committee to Visit the Harvard University Library. Rumsey received a BA from Harvard College and MA and PhD in Russian and intellectual history from Harvard University.Named as one of the "100 most connected men" by GQ magazine, Andrew Keen is amongst the world's best known broadcasters and commentators. In addition to presenting KEEN ON, he is the host of the long-running How To Fix Democracy show. He is also the author of four prescient books about digital technology: CULT OF THE AMATEUR, DIGITAL VERTIGO, THE INTERNET IS NOT THE ANSWER and HOW TO FIX THE FUTURE. Andrew lives in San Francisco, is married to Cassandra Knight, Google's VP of Litigation & Discovery, and has two grown children.

In this long awaited podcast episode, I speak with Architect and Broker Associate Brian Linder, AIAA seasoned real estate professional with 20 years of experience in high-end, custom residential design and construction and a master's degree in architecture, Brian Linder, AIA, brings design-oriented expertise to the buying and selling of estates, architectural properties and historic residences.Over the course of his career, Brian has represented some of the most notable properties in Los Angeles, including work by Rudolf Schindler, Angélil/Graham, Coop Himmelblau and Eric Owen Moss. His sophisticated eye and understanding of complex real estate transactions have enabled him to assist buyers in finding value for their investment at every level of spending. A skilled marketer and Certified Negotiation Expert, Brian has also helped owners and developers market distinctive projects, from land with plans through the construction of speculative ventures. Viewing architecture as an opportunity, he brings his expertise to help buyers find the most interesting, well-designed homes available in their price range, and to help sellers get the highest possible prices for their special architect-designed homes.Brian has built his real estate practice around a concept he calls “The Value of Architecture.” This concept is based on the notion that architectural homes provide countless lifestyle benefits, carry greater premiums, and tend to be less sensitive to market fluctuations. Brian leads the ongoing UCLA Extension course “The Value of Architecture” and has further developed this thesis in presentations to the American Institute of Architects, the Society of Architectural Historians and various local and national audiences. Brian is also committed to promoting architecture as art, featuring the work of practicing architects, including Marmol Radziner, Pugh Scarpa, and Patrick Tighe, on his website.Brian spent several years as an architect and construction manager before earning his broker's license and joining the firm formerly known as Mossler Deasy & Doe, the original marketers of architectural real estate in Los Angeles. Licensed in California, Texas and Washington, Brian has since been involved in the sale of architectural properties from Southern to Northern California and marketed out-of-state properties as far afield as New Canaan, Connecticut. In addition to working out of Compass's Beverly Hills office, Brian holds court in Austin, Texas and has sold numerous architectural homes in a wide radius, including properties in Marfa, Texas, the minimalist modern art and architecture mecca.When he's not representing clients in real estate, Brian enjoys spending time with his kids, doing hot yoga several times a week—sometimes followed by a cold plunge in the ocean or Barton Springs when in Austin—hiking, mountain biking, surfing, touring architectural homes, organic gardening and chicken husbandry (he has seven raised beds and eight laying hens in his front yard), traveling, meditation and Native American studies. Brian holds a BS in Business Administration from Carnegie Mellon University and MA in Architecture from UCLA. He is an active member of the American Institute of Architects (AIA) and certified by the National Council of Architectural Registration Boards.Here's a link to his website:  https://thevalueofarchitecture.com/Link to Blog:https://inmawomanarchitect.blogspot.com/2023/09/interview-podcast-w-brian-linder-aia-of.html

Louis Sullivan was an architect working in Chicago at the dawn of the skyscraper. He sought to define a new, bold style of design in the U.S., and was deeply frustrated when his peers didn't do the same.  Research: Sullivan, Louis. “An Autobiography of an Idea.” Dover Architecture. 2012. Kindle Edition. “Louis Sullivan.” Chicago Architecture Center. https://www.architecture.org/learn/resources/architecture-dictionary/entry/louis-sullivan/ “Auditorium Building.” Chicago Architecture Center. https://www.architecture.org/learn/resources/buildings-of-chicago/building/auditorium-building/ Smith, Mark Richard. “Louis Sullivan – The Struggle for American Architecture.” Whitecap Films. 2010. “Charnley-Persky House Museum.” https://www.sah.org/about-sah/charnley-persky-house Glancey, Jonathan. “The city that changed architecture forever.” BBC Culture. October 5, 2015. https://www.bbc.com/culture/article/20150930-chicago-birthplace-of-the-skyscraper “Auditorium Theater.” https://auditoriumtheatre.org/ Chewning, John Andrew. “William Robert Ware and the beginnings of architectural education in the United States, 1861-1881.” Massachusetts Institute of Technology. 1986. https://dspace.mit.edu/handle/1721.1/14983 Britannica, The Editors of Encyclopaedia. "Dankmar Adler". Encyclopedia Britannica, 13 Apr. 2023, https://www.britannica.com/biography/Dankmar-Adler Koeper, H.F.. "Louis Sullivan". Encyclopedia Britannica, 10 Apr. 2023, https://www.britannica.com/biography/Louis-Sullivan Lowe, David Garrard. “Architecture: The First Chicago School.” Encyclopedia of Chicago. http://www.encyclopedia.chicagohistory.org/pages/62.html “World's Columbian Exposition of 1893.” American Experience. PBS. https://www.pbs.org/wgbh/americanexperience/features/chicago-worlds-columbian-exposition-1893/ Crook, David H. “Louis Sullivan and the Golden Doorway.” Journal of the Society of Architectural Historians, vol. 26, no. 4, 1967, pp. 250–58. JSTOR, https://doi.org/10.2307/988451 Mumford, Mark. “Form Follows Nature: The Origins of American Organic Architecture.” Journal of Architectural Education (1984-), vol. 42, no. 3, 1989, pp. 26–37. JSTOR, https://doi.org/10.2307/1425061 Gary C. Meyer. “Louis Sullivan's Columbus Jewel Box.” The Wisconsin Magazine of History, vol. 88, no. 3, 2005, pp. 2–17. JSTOR, http://www.jstor.org/stable/4637133 Britannica, The Editors of Encyclopaedia. "William Le Baron Jenney". Encyclopedia Britannica, 21 Sep. 2022, https://www.britannica.com/biography/William-Le-Baron-Jenney See omnystudio.com/listener for privacy information.

What you'll learn in this episode:   What jewelry can tell us about the aesthetics and values of a particular era. Why sustainability in the jewelry industry is essential, and why the definition of “sustainable” is much broader than we might think. Why maintaining purpose is the key to making our world and our creative work better. Why the term “ethical jewelry” is less about materials and more about our choices as consumers and makers. How Lisa decides which topics deserve attention at Initiatives in Art and Culture's conferences.   About Lisa Koenigsberg   Lisa Koenigsberg is President and Founder, Initiatives in Art and Culture (IAC) and an internationally recognized thought-leader in visual culture. Koenigsberg's work is characterized by commitment to authenticity, artisanry, materials, sustainability, and responsible practice. Over 20 years ago, she established IAC's multi-disciplinary conference series on visual culture and has since been responsible for launching its web-based webinars and other offerings. She has held leadership positions at NYU where she also served on the faculty, at several major museums, and at the New York City Landmarks Preservation Commission.   Koenigsberg's writings have appeared in such books as The Art of Collecting (ed. D. Jensen), Auspicious Vision: Edward Wales Root and American Modernism, Architecture: A Place for Women (eds. E. P. Berkeley and M. McQuaid), The Gilded Edge: The Art of the Frame (ed. E. Wilner), in journals such as Gems and Jewellery (the publication of the Gemmological Association of Great Britain), American Art Journal, Proceedings of the American Antiquarian Society, and Journal of the Society of Architectural Historians, as well as in magazines and in Trendvision's Trendbook.   A frequent speaker, she has also organized symposia and special sessions at universities, museums, and professional organizations throughout the US and abroad, including at the State Art Collections of Dresden, NYU, City University Graduate Center, the Smithsonian Institution, the Norton Museum of Art, and the United Nations, and has organized and chaired sessions at the American Association of Museums, the Goldsmiths Company (London), the Society of Architectural Historians, Yale University Art Gallery, the Aspen Institute, and the Jewelry Industry Summit and at JCK.   She holds graduate degrees from The Johns Hopkins University and from Yale University from which she received her PhD. She is president of the Board of the Morris–Jumel Museum, a trustee of Glessner House in Chicago, and is a member of the Advisory Board of Ethical Metalsmiths and of the board of the NY Silver Society.   Additional Resources: Initiatives in Art and Culture Instagram Initiatives in Art and Culture Facebook Initiatives in Art and Culture Linkedin Initiatives in Art and Culture Linktr.ee Lisa Koenigsberg Linkedin   Photos are available on TheJewelryJourney.com     Transcript: What is sustainable jewelry? According to Lisa Koenigsberg, it's about much more than the materials used. As founder of Initiatives in Art and Culture (IAC), Lisa has organized dozens of conferences to encourage people to explore sustainability, stores of value, visual culture and more, all through the lens of jewelry. She joined the Jewelry Journey Podcast to talk about what visual culture is and why it's significant; what it means for makers and jewelry professionals to maintain purpose; and what we can expect from IAC's upcoming conferences. Read the episode transcript here. Sharon: Hello everyone. Welcome to the Jewelry Journey Podcast. This is the first part of a two-part episode. Please make sure you subscribe so you can hear part two as soon as it's released later this week. Today, my guest is Lisa Koenigsberg speaking to us from New York and environs back east. She is the founder of Initiatives in Art and Culture, which is focused on a number of issues such as women in western art. There's also a conference, which I just noticed, on arts and crafts in the art world. She is an internationally recognized authority on material culture. This July, she is chairing an important conference called “Maintaining Purpose” with a focus on how to make something we all love, jewelry. We'll learn more about her jewelry journey today and hear more about the conference. I didn't go into all the details of the conference and her background because it would take too long. Lisa, welcome to the program. Lisa: Thank you. It's so nice to be here. Sharon: Tell us about your jewelry journey. Were you a jeweler? Were you educated as a jeweler? Lisa: No, I am not a jeweler. I am the child of two people who are very object-driven and, of course, a mother with extraordinary taste. But in terms of how you might say I studied jewelry, jewelry was part of what we looked at when thinking about—a term I find not felicitous, but I'll use it for the moment—decorative arts, so fitting into the range of the useful and the beautiful. Silver, for example. Jewelry certainly had a space there, and that was the earliest point for me that was non-life-driven. One of the great blessings that happened to me was that I did my graduate work at Yale. That was when the arts and crafts movement wasn't codified in the same way it is now. We sat around and talked about it in the back room of the American Arts office. There were objects there, and we had the opportunity to hold, see, explore. At the time, I also used to wash silver and jewelry for an extraordinary dealer who wrote a wonderful book, Rosalie Roberian. One of the things that did was give me a sense of weight, dimension, proportion, of engaging closely with materiality. Although the arts and crafts is one dimension, I think that illustrates well one of the things that has been so important for me, which is looking for the opportunity to hold, the opportunity to talk with makers. For example, every year, The Goldsmiths' Company in the U.K. does something called the Goldsmiths' Fair. At the Goldsmiths' Fair, there is one week with 67 or so makers. During that time, you can go and speak with any of the makers, explore the work in your hand, look closely at it. I think the journey of looking is probably one of the most important things. I've been interested in jewelry as a manifestation of the aesthetic of any era for a very long time as well. My background and training are cross-disciplinary. I'm an American studies person. For me, one of the things I always look for is what we are seeing as characteristic of an age, for example. I see jewelry as very much a part of the tangible expressions of an era. For example, if you're talking about a brooch, you can be working on a sculpture for the body, similarly with neckwear. It's one of the most intriguing forms of expression there is. Making jewelry, the impulse to craft out of whatever the culture sees as precious material, is one of the innate impulses we have, along with the urge to adorn. If you step back and think about it, jewelry is intertwined with so many events of state, events of faith, events of heart. The Pope, for example, wears the Fisherman's Ring, and at the passing of each Pope, that ring is shattered; a new ring is made. We're all currently fixated on the crown jewels as Charles' coronation comes up. All of that is actually jewelry. It's jewelry indicative of state, of lineage, obviously of aesthetics. The band that many of us wear on one left or right ring finger, as simple or as elaborate as it may be, that is jewelry. It's a signifier. It's also invested with tremendous emotion. Jewelry plays an enormously powerful role in culture. It's another kind of historical document. So, if we look at jewelry, we can learn things. For example, you can explore the kinds of ornament it was thought only men wore, but by actually going back and looking, as it was done in the exhibition “Golden Kingdoms,” you can see that women also wore certain kinds of major ceremonial ornament. You can learn from the inscriptions. You can learn about stylistic transmission from the aesthetics. One of the things we don't think about so much is what we leave behind. When we go and look at how we have explored previous cultures, past cultures, one of the things we see is that the documents are often what have been termed luxury arts. They are art that are made of objects that are deemed precious within a culture. They demonstrate a certain egis over resources and talent, but they also serve as documents of that culture. They tell us things about religion, about aesthetics, about faith, about ritual. We need to be thinking about that with regard to jewelry in our own age as well. What are we leaving behind? Sharon: You cover so many things in Initiatives in Art and Culture. You talk about gems and sustainability and art. It's so many things. How did you start this, and what is the conference about? Lisa: I founded Initiatives in Art and Culture in 2004. One of the reasons it was started is because I had developed a series of conferences that had, at their core, a concern for visual culture. What does visual culture tell you? Because there is much to be learned about materiality. What's it made of? How do we get those materials? And that opens the door to discussing sustainability. Then, what's done with those materials? What are the forms? What are the means of expression, whether it's three-dimensional, such as a ring, or two-dimensional, except that it really has a third dimension, however subtle it may be. So, within the category of good, better or best, what differentiates an object from another? Then taking it a step further, what does that object mean in terms of the way we use it, in terms of its place in society, in terms of what it says? Beyond that, how is it linked to the time, or does it presage the future in some way? I'm sure I've left out some foci related to political and social concerns, but it's that wholeness that is inherent in visual culture. That is the focus of what IAC does. We have deep commitment to artistry and materials as well as a commitment to responsible practice. Sharon: Several questions. Were you always interested in all of this, or is it something your professors taught you and you learned as you read? It's not the way I would look at something. I think it's really interesting. How did you start looking at this? Lisa: I was born into a family that was and remains very visually engaged and involved with art, very involved with looking. Well before I had what one might think of as a professor, I had my parents, who in effect included me in their world of looking from moment one. My experience of art, of objects, has been part of my life since the very beginning. For us, a shared experience was very often looking, whether it was going to an exhibition or a trip planned specifically to see certain things. This was very much part of my world, or the world I was lucky enough to be born into. That included the people that were friends of my parents, and that included curators and collectors and people who were very engaged in the world of looking. My mother herself is a very well-recognized either fiber artist or artist who does sculpture using wire to explore grid and void. I say that to avoid the nomenclature wars. I was very lucky to have some extraordinary teachers, but one of the best teachers I had was in high school. We reenacted the Ruskin Whistler trial. I was the attorney for Ruskin, so I had to know all about each one of the witnesses, each one of the people who appeared and testified in the trial, and that made art come alive in a way that was exceptional. Another thing was that during those years, there was something called the myth and image school. It's the idea that an era has emblems that are representative, that are invested with particular meaning. There may be a flip side to that emblem or a parallel that represents its opposite, but this idea, one which is very cross-disciplinary and often ranges through literature and art, was incredibly formative for me. This is the stuff my teachers exposed me to when I was 13, 14. I was reading these books because they had read them in school, in college, and they shared them with us. For me, going to university—I went to Johns Hopkins and did a BA/MA in history—it was, on the one hand, a new chapter and transformative, but on the other hand, it was in some ways a continuation of what I had been doing all the way along. Sharon: Correct me if I'm wrong, but it seems like—I've watched your conferences for a long time, and it seems that you focus on art and gems and other things. This idea of maintaining purpose and an emphasis on sustainability seems to be in the last few years. Am I incorrect? Do you just put on a conference when you think it's a really important subject and it's coming to the fore? Lisa: Sustainability is a dicey word when it comes to what exactly that means. At root, it is to survive, but in our thinking, sustainability is linked to responsible practice, which can involve how you source materials, how you make an object, what the circumstances and conditions of that making are. We actually have been interested in that since the first project. It was called “Green,” and it was in 2008. The reason that happened was there was an increasing concern with what was then called sustainability, which was often associated with the color green. We had something I definitely want to revive, which is a conference of 20 years of looking at fashion jewels, the zeitgeist of culture, photography, literature, etc. This term sustainability was being used, green was being used, and one of the things I didn't want to do was a superficial one-off. So, we decided that for the 10th year—I think it was the 10th year—of that conference, we would do something called “Green: Sustainability, Significance, and Style.” In that conference we looked at color, of course; we even looked at green diamonds, but we also looked at coral and organic material that's made into jewelry. The issues pertaining to coral were at peak interest at that point, and we did quite a lot in that conference with gold. That was the first time I worked with Toby Pomeroy, with whom I've been fortunate enough to be both friends and colleagues since then. At that point, Toby had done something that was then radical, which was to approach the refiner Hoover & Strong to see if it could be demonstrated that the materials, the scrap, that he came in with was the only material that was in the batch that was refined and that it remained segregated from everything else. That was what you might call an exploration in chain of custody, in the sense that he had a sense of origin of these materials and he wanted to ensure that he could attest to their integrity. Hoover & Strong met the challenge. At that point, Toby was making quite a lot of jewelry, and there was a term that was being used called Eco Loops. Toby has since gone on to do remarkable work with regard to mercury elimination, and he will be involved in the conference, “Maintaining Purpose,” that we are doing. With “Maintaining Purpose”—and actually with the “Green” conference, we had Mike Kowalski, who was then the chair of Tiffany, involved in the conference. There was a great deal of focus on things like land reclamation and after-mining and that sort of thing. Having said that, one thing I'd like to stress is that one of our speakers, who at that point was the head of Bono's RED, got up and said, “I know you're all wondering, ‘What's a red person doing at a green conference?'” I felt as if I had been hit over the head with pipe, because I had never thought about environmental sustainability or integrity as being isolated from social condition and well-being. Now, when you look at the 17 SDG, you'll see so many different issues broken out, but one of the things I thought was, “Gosh, we've got to do red now,” because this is a split I wasn't thinking about or perceiving. Green and red basically led to the creation of a conference. Our initial thinking was to do a conference that would look at precious substances. We did a coral conference; we did a diamond conference, which we were very privileged to do. We had wonderful support from Sally Morrison for that project. Then I woke up and realized we had never done gold, so effectively what happened is that the conference on precious substances became the Gold Conference. The Gold Conference is now entering its 13th year. We broadened gold to include gold and diamonds because we wanted to draw people's attention to stores of value, which these materials are, and also comparative approaches to things like mining, whether it's formalized or otherwise. And also because, of course, metal and stone go together. That's not to say we do not explore and include focus on other stones. We're very proud that Cruzeiro Mines, which is a tourmaline and rubellite mine from Brazil that has exemplary practices and absolutely beautiful stones, is participating in this year's conference. But the way the Gold and Diamond Conference evolved was it came to use jewelry as a lens for a 360-degree approach to the life and the issues associated with the material in question. On the one hand, you have great artistry, like Giovanni Corvaja. We were privileged to have Daniel Brush speak, whose loss I feel keenly. Every year we welcome wonderful jewelers. At the same time, we think about the issues related to extracting material or recycling material and what those words mean. What is recycling? We have repurposed since the dawn of time, so what gives something that halo of recycling? Do we have to think about what we're using? And, of course, jewelry is a created object. What are the environmental ramifications of extracting, creating the jewelry business writ large? Often in our heads, we think about jewelry and we see a craftsperson, a maker. That aspect of things is very dear to our hearts, and we're keenly interested in artisanry. At the same time, you have other aspects to this jewelry industry, large corporations that produce for particular market segments. You have the luxe maison. In some ways, they're all compatriots in a world, in other ways competitors in a world, and yet bound together by a common concern for ensuring that this world we have continues. Without this world, without this air, without this earth, we are nothing. We can't make anything. We have effaced ourselves. I think there is a point of critical mass that's been reached where there is a deep and general concern. One of the things I fear and that I hope I can help with is building community to encourage people to keep going forward despite the fears that we may have about doing something a different way. Last year our conference was “Boldly Building the Future.” How do you boldly build the future? We have many declarations that have been stated about gold, for example. There was a declaration drafted and shepherded through for the gold industry by LBMA and the World Gold Council. They have principles. Principles are not blueprints. How do you get from that vision, the abstract vision, to its implementation? How do you transform? We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out.

What you'll learn in this episode:   What jewelry can tell us about the aesthetics and values of a particular era. Why sustainability in the jewelry industry is essential, and why the definition of “sustainable” is much broader than we might think. Why maintaining purpose is the key to making our world and our creative work better. Why the term “ethical jewelry” is less about materials and more about our choices as consumers and makers. How Lisa decides which topics deserve attention at Initiatives in Art and Culture's conferences.   About Lisa Koenigsberg   Lisa Koenigsberg is President and Founder, Initiatives in Art and Culture (IAC) and an internationally recognized thought-leader in visual culture. Koenigsberg's work is characterized by commitment to authenticity, artisanry, materials, sustainability, and responsible practice. Over 20 years ago, she established IAC's multi-disciplinary conference series on visual culture and has since been responsible for launching its web-based webinars and other offerings. She has held leadership positions at NYU where she also served on the faculty, at several major museums, and at the New York City Landmarks Preservation Commission.   Koenigsberg's writings have appeared in such books as The Art of Collecting (ed. D. Jensen), Auspicious Vision: Edward Wales Root and American Modernism, Architecture: A Place for Women (eds. E. P. Berkeley and M. McQuaid), The Gilded Edge: The Art of the Frame (ed. E. Wilner), in journals such as Gems and Jewellery (the publication of the Gemmological Association of Great Britain), American Art Journal, Proceedings of the American Antiquarian Society, and Journal of the Society of Architectural Historians, as well as in magazines and in Trendvision's Trendbook.   A frequent speaker, she has also organized symposia and special sessions at universities, museums, and professional organizations throughout the US and abroad, including at the State Art Collections of Dresden, NYU, City University Graduate Center, the Smithsonian Institution, the Norton Museum of Art, and the United Nations, and has organized and chaired sessions at the American Association of Museums, the Goldsmiths Company (London), the Society of Architectural Historians, Yale University Art Gallery, the Aspen Institute, and the Jewelry Industry Summit and at JCK.   She holds graduate degrees from The Johns Hopkins University and from Yale University from which she received her PhD. She is president of the Board of the Morris–Jumel Museum, a trustee of Glessner House in Chicago, and is a member of the Advisory Board of Ethical Metalsmiths and of the board of the NY Silver Society.   Additional Resources: Initiatives in Art and Culture Instagram Initiatives in Art and Culture Facebook Initiatives in Art and Culture Linkedin Initiatives in Art and Culture Linktr.ee Lisa Koenigsberg Linkedin   Photos are available on TheJewelryJourney.com   Transcript:   What is sustainable jewelry? According to Lisa Koenigsberg, it's about much more than the materials used. As founder of Initiatives in Art and Culture (IAC), Lisa has organized dozens of conferences to encourage people to explore sustainability, stores of value, visual culture and more, all through the lens of jewelry. She joined the Jewelry Journey Podcast to talk about what visual culture is and why it's significant; what it means for makers and jewelry professionals to maintain purpose; and what we can expect from IAC's upcoming conferences. Read the episode transcript here.    Sharon: Hello everyone. Welcome to the Jewelry Journey Podcast. This is the first part of a two-part episode. Please make sure you subscribe so you can hear part two as soon as it's released later this week.    Today, my guest is Lisa Koenigsberg speaking to us from New York and environs back east. She is the founder of Initiatives in Art and Culture, which is focused on a number of issues such as women in western art. There's also a conference, which I just noticed, on arts and crafts in the art world. She is an internationally recognized authority on material culture. This July, she is chairing an important conference called “Maintaining Purpose” with a focus on how to make something we all love, jewelry. We'll learn more about her jewelry journey today and hear more about the conference. I didn't go into all the details of the conference and her background because it would take too long. Lisa, welcome to the program.   Lisa: Thank you. It's so nice to be here.   Sharon: Tell us about your jewelry journey. Were you a jeweler? Were you educated as a jeweler?   Lisa: No, I am not a jeweler. I am the child of two people who are very object-driven and, of course, a mother with extraordinary taste. But in terms of how you might say I studied jewelry, jewelry was part of what we looked at when thinking about—a term I find not felicitous, but I'll use it for the moment—decorative arts, so fitting into the range of the useful and the beautiful. Silver, for example. Jewelry certainly had a space there, and that was the earliest point for me that was non-life-driven.    One of the great blessings that happened to me was that I did my graduate work at Yale. That was when the arts and crafts movement wasn't codified in the same way it is now. We sat around and talked about it in the back room of the American Arts office. There were objects there, and we had the opportunity to hold, see, explore. At the time, I also used to wash silver and jewelry for an extraordinary dealer who wrote a wonderful book, Rosalie Roberian. One of the things that did was give me a sense of weight, dimension, proportion, of engaging closely with materiality. Although the arts and crafts is one dimension, I think that illustrates well one of the things that has been so important for me, which is looking for the opportunity to hold, the opportunity to talk with makers. For example, every year, The Goldsmiths' Company in the U.K. does something called the Goldsmiths' Fair. At the Goldsmiths' Fair, there is one week with 67 or so makers. During that time, you can go and speak with any of the makers, explore the work in your hand, look closely at it. I think the journey of looking is probably one of the most important things.    I've been interested in jewelry as a manifestation of the aesthetic of any era for a very long time as well. My background and training are cross-disciplinary. I'm an American studies person. For me, one of the things I always look for is what we are seeing as characteristic of an age, for example. I see jewelry as very much a part of the tangible expressions of an era. For example, if you're talking about a brooch, you can be working on a sculpture for the body, similarly with neckwear. It's one of the most intriguing forms of expression there is. Making jewelry, the impulse to craft out of whatever the culture sees as precious material, is one of the innate impulses we have, along with the urge to adorn.    If you step back and think about it, jewelry is intertwined with so many events of state, events of faith, events of heart. The Pope, for example, wears the Fisherman's Ring, and at the passing of each Pope, that ring is shattered; a new ring is made. We're all currently fixated on the crown jewels as Charles' coronation comes up. All of that is actually jewelry. It's jewelry indicative of state, of lineage, obviously of aesthetics. The band that many of us wear on one left or right ring finger, as simple or as elaborate as it may be, that is jewelry. It's a signifier. It's also invested with tremendous emotion.    Jewelry plays an enormously powerful role in culture. It's another kind of historical document. So, if we look at jewelry, we can learn things. For example, you can explore the kinds of ornament it was thought only men wore, but by actually going back and looking, as it was done in the exhibition “Golden Kingdoms,” you can see that women also wore certain kinds of major ceremonial ornament. You can learn from the inscriptions. You can learn about stylistic transmission from the aesthetics.    One of the things we don't think about so much is what we leave behind. When we go and look at how we have explored previous cultures, past cultures, one of the things we see is that the documents are often what have been termed luxury arts. They are art that are made of objects that are deemed precious within a culture. They demonstrate a certain egis over resources and talent, but they also serve as documents of that culture. They tell us things about religion, about aesthetics, about faith, about ritual. We need to be thinking about that with regard to jewelry in our own age as well. What are we leaving behind?   Sharon: You cover so many things in Initiatives in Art and Culture. You talk about gems and sustainability and art. It's so many things. How did you start this, and what is the conference about?   Lisa: I founded Initiatives in Art and Culture in 2004. One of the reasons it was started is because I had developed a series of conferences that had, at their core, a concern for visual culture. What does visual culture tell you? Because there is much to be learned about materiality. What's it made of? How do we get those materials? And that opens the door to discussing sustainability. Then, what's done with those materials? What are the forms? What are the means of expression, whether it's three-dimensional, such as a ring, or two-dimensional, except that it really has a third dimension, however subtle it may be. So, within the category of good, better or best, what differentiates an object from another? Then taking it a step further, what does that object mean in terms of the way we use it, in terms of its place in society, in terms of what it says? Beyond that, how is it linked to the time, or does it presage the future in some way? I'm sure I've left out some foci related to political and social concerns, but it's that wholeness that is inherent in visual culture. That is the focus of what IAC does. We have deep commitment to artistry and materials as well as a commitment to responsible practice.   Sharon: Several questions. Were you always interested in all of this, or is it something your professors taught you and you learned as you read? It's not the way I would look at something. I think it's really interesting. How did you start looking at this?   Lisa: I was born into a family that was and remains very visually engaged and involved with art, very involved with looking. Well before I had what one might think of as a professor, I had my parents, who in effect included me in their world of looking from moment one. My experience of art, of objects, has been part of my life since the very beginning. For us, a shared experience was very often looking, whether it was going to an exhibition or a trip planned specifically to see certain things. This was very much part of my world, or the world I was lucky enough to be born into. That included the people that were friends of my parents, and that included curators and collectors and people who were very engaged in the world of looking. My mother herself is a very well-recognized either fiber artist or artist who does sculpture using wire to explore grid and void. I say that to avoid the nomenclature wars.    I was very lucky to have some extraordinary teachers, but one of the best teachers I had was in high school. We reenacted the Ruskin Whistler trial. I was the attorney for Ruskin, so I had to know all about each one of the witnesses, each one of the people who appeared and testified in the trial, and that made art come alive in a way that was exceptional. Another thing was that during those years, there was something called the myth and image school. It's the idea that an era has emblems that are representative, that are invested with particular meaning. There may be a flip side to that emblem or a parallel that represents its opposite, but this idea, one which is very cross-disciplinary and often ranges through literature and art, was incredibly formative for me. This is the stuff my teachers exposed me to when I was 13, 14. I was reading these books because they had read them in school, in college, and they shared them with us. For me, going to university—I went to Johns Hopkins and did a BA/MA in history—it was, on the one hand, a new chapter and transformative, but on the other hand, it was in some ways a continuation of what I had been doing all the way along.    Sharon: Correct me if I'm wrong, but it seems like—I've watched your conferences for a long time, and it seems that you focus on art and gems and other things. This idea of maintaining purpose and an emphasis on sustainability seems to be in the last few years. Am I incorrect? Do you just put on a conference when you think it's a really important subject and it's coming to the fore?   Lisa: Sustainability is a dicey word when it comes to what exactly that means. At root, it is to survive, but in our thinking, sustainability is linked to responsible practice, which can involve how you source materials, how you make an object, what the circumstances and conditions of that making are. We actually have been interested in that since the first project. It was called “Green,” and it was in 2008. The reason that happened was there was an increasing concern with what was then called sustainability, which was often associated with the color green. We had something I definitely want to revive, which is a conference of 20 years of looking at fashion jewels, the zeitgeist of culture, photography, literature, etc. This term sustainability was being used, green was being used, and one of the things I didn't want to do was a superficial one-off.    So, we decided that for the 10th year—I think it was the 10th year—of that conference, we would do something called “Green: Sustainability, Significance, and Style.” In that conference we looked at color, of course; we even looked at green diamonds, but we also looked at coral and organic material that's made into jewelry. The issues pertaining to coral were at peak interest at that point, and we did quite a lot in that conference with gold.    That was the first time I worked with Toby Pomeroy, with whom I've been fortunate enough to be both friends and colleagues since then. At that point, Toby had done something that was then radical, which was to approach the refiner Hoover & Strong to see if it could be demonstrated that the materials, the scrap, that he came in with was the only material that was in the batch that was refined and that it remained segregated from everything else. That was what you might call an exploration in chain of custody, in the sense that he had a sense of origin of these materials and he wanted to ensure that he could attest to their integrity. Hoover & Strong met the challenge. At that point, Toby was making quite a lot of jewelry, and there was a term that was being used called Eco Loops. Toby has since gone on to do remarkable work with regard to mercury elimination, and he will be involved in the conference, “Maintaining Purpose,” that we are doing.    With “Maintaining Purpose”—and actually with the “Green” conference, we had Mike Kowalski, who was then the chair of Tiffany, involved in the conference. There was a great deal of focus on things like land reclamation and after-mining and that sort of thing. Having said that, one thing I'd like to stress is that one of our speakers, who at that point was the head of Bono's RED, got up and said, “I know you're all wondering, ‘What's a red person doing at a green conference?'” I felt as if I had been hit over the head with pipe, because I had never thought about environmental sustainability or integrity as being isolated from social condition and well-being. Now, when you look at the 17 SDG, you'll see so many different issues broken out, but one of the things I thought was, “Gosh, we've got to do red now,” because this is a split I wasn't thinking about or perceiving. Green and red basically led to the creation of a conference.    Our initial thinking was to do a conference that would look at precious substances. We did a coral conference; we did a diamond conference, which we were very privileged to do. We had wonderful support from Sally Morrison for that project. Then I woke up and realized we had never done gold, so effectively what happened is that the conference on precious substances became the Gold Conference. The Gold Conference is now entering its 13th year. We broadened gold to include gold and diamonds because we wanted to draw people's attention to stores of value, which these materials are, and also comparative approaches to things like mining, whether it's formalized or otherwise. And also because, of course, metal and stone go together. That's not to say we do not explore and include focus on other stones. We're very proud that Cruzeiro Mines, which is a tourmaline and rubellite mine from Brazil that has exemplary practices and absolutely beautiful stones, is participating in this year's conference.    But the way the Gold and Diamond Conference evolved was it came to use jewelry as a lens for a 360-degree approach to the life and the issues associated with the material in question. On the one hand, you have great artistry, like Giovanni Corvaja. We were privileged to have Daniel Brush speak, whose loss I feel keenly. Every year we welcome wonderful jewelers. At the same time, we think about the issues related to extracting material or recycling material and what those words mean. What is recycling? We have repurposed since the dawn of time, so what gives something that halo of recycling? Do we have to think about what we're using? And, of course, jewelry is a created object. What are the environmental ramifications of extracting, creating the jewelry business writ large? Often in our heads, we think about jewelry and we see a craftsperson, a maker. That aspect of things is very dear to our hearts, and we're keenly interested in artisanry. At the same time, you have other aspects to this jewelry industry, large corporations that produce for particular market segments. You have the luxe maison.    In some ways, they're all compatriots in a world, in other ways competitors in a world, and yet bound together by a common concern for ensuring that this world we have continues. Without this world, without this air, without this earth, we are nothing. We can't make anything. We have effaced ourselves. I think there is a point of critical mass that's been reached where there is a deep and general concern. One of the things I fear and that I hope I can help with is building community to encourage people to keep going forward despite the fears that we may have about doing something a different way. Last year our conference was “Boldly Building the Future.” How do you boldly build the future? We have many declarations that have been stated about gold, for example. There was a declaration drafted and shepherded through for the gold industry by LBMA and the World Gold Council. They have principles. Principles are not blueprints. How do you get from that vision, the abstract vision, to its implementation? How do you transform?   We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out. 

Today I will be speaking with Neal Shasore, the chief executive and head of school at The London School of Architecture, an Honorary Secretary and Trustee of the Society of Architectural Historians of Great Britain (SAHGB) , Trustee of the Twentieth Century Society, Trustee of the Architectural Heritage Fund and an Academic specializing in interwar British architecture, civic centers and public space and he also world leading expert on the history and evolution of the profession - I saw him speak at the RIBA tour years ago. Neal previously worked at the RIBA, the University of Westminster, the University of Liverpool, and the University of Oxford. He is particularly passionate about diversifying architectural education, heritage and practice.  An architectural historian by training, his research and writing has primarily focussed on architectural culture in Britain and the Empire in the first half of the twentieth century and this critical perspective informs his own pedagogy and practice.    In today's episode we will be discussing: The possible futures of Built Environment education Part Zero and Part Four the new educational initiatives from the LSA Neal's New book and diversity and inclusion in the profession and how business and practice education is key part of this   To learn more about Neal visit his: Website: https://www.the-lsa.org/people/neal-shasore/ LinkedIn: https://www.linkedin.com/in/neal-shasore-306660b7/?originalSubdomain=uk Twitter: https://twitter.com/n_shasore?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor   Check out his new book: https://www.ribabooks.com/designs-on-democracy-architecture-and-the-public-in-interwar-london_9780192849724#   ► Feedback? Email us at podcast@businessofarchitecture.com   ► Access your free training at http://SmartPracticeMethod.com/   ► If you want to speak directly to our advisors, book a call at https://www.businessofarchitecture.com/call   ► Subscribe to my YouTube Channel for updates:   https://www.youtube.com/c/BusinessofArchitecture   *******   For more free tools and resources for running a profitable, impactful, and fulfilling practice, connect with me on: Facebook: https://www.facebook.com/groups/businessofarchitecture Instagram: https://www.instagram.com/enoch.sears/ Website: https://www.businessofarchitecture.com/ Twitter: https://twitter.com/BusinessofArch Podcast: http://www.businessofarchitecture.com/podcast iTunes: https://podcasts.apple.com/us/podcast/business-architecture-podcast/id588987926 Android Podcast Feed: http://feeds.feedburner.com/BusinessofArchitecture-podcast Google Podcasts: https://podcasts.google.com/feed/aHR0cHM6Ly9idXNpbmVzc29mYXJjaGl0ZWN0dXJlLmxpYnN5bi5jb20vcnNz   *******   Access the FREE Architecture Firm Profit Map video here: http://freearchitectgift.com   Download the FREE Architecture Firm Marketing Process Flowchart video here: http://freearchitectgift.com     Carpe Diem!

This episode, "Everybody Needs Somebody to Love," celebrates a resident from the ABLA (a group of public housing projects consisting of the Jane Addams Homes, Robert Brooks Homes, Loomis Courts, and Grace Abbott Homes) community, the late Mr. Wilbur Farley. If that name sounds familiar, perhaps it is because he has appeared many times in different ABLA oral histories we have gathered. Known as “Mr. Fix-It” for his ingenuity and helping neighbors with small repairs, Mr. Farley was such a hugely influential and important member of the community that “Mr. Farley Day Back to School Celebration and Party” (as it was originally called) was created in 1984 by the ABLA community. The oral history narrators featured in this episode are Al Buford, who lived in the Jane Addams Homes from 1955 until 1990, Marquita Gandy, who lived in ABLA from 1973 to 2009, Godfrey Bey, who lived in the Jane Addams Homes from 1956 to 1983, and Byron Dickens, our next narrator lived in the Jane Addams Homes from 1966 to 2001. Read the transcript here. CORRECTION: The narration of this episode states that Marquita Gandy lived in the Jane Addams Homes from 1973 to 2009. The episode notes have been edited to reflect the correction, that Marquita Gandy lived in the greater ABLA Homes complexes from 1973 to 2009. All but one of the buildings of the Jane Addams Homes were demolished between 2002-2008; the last remaining building is being preserved for the National Public Housing Museum's permanent site thanks to efforts by ABLA resident activists. (Source: Society of Architectural Historians, https://sah-archipedia.org/buildings/IL-01-031-0037) Cited Source: https://chicagoreader.com/news-politics/old-man-of-the-projects/

**EPISODE CONTAINS EXPLICIT LANGUAGE** This week's conversation was a fun one for me b/c I got to have an in depth conversation with Tiara Hughes. We cover the impact of attending a PWI (predominantly white institution).  We also talk about how representation matters and how we both were impacted by having, or not having, black professors during our architecture studies. We discuss the different types of architectural degree programs and how different degrees impact when you can start taking your licensure exams. We touch on working through grief and how to create a support network so you can keep going. Building Highlight: https://www.blackenterprise.com/emmett-tills-chicago-home-achieved-landmark-status-and-will-become-a-museum/ (Emmett Till and Mamie Till-Mobley House). Check out the https://www.instagram.com/tangibleremnants/ (Tangible Remnants on Instagram) page to see photos of the building. Links: https://www.chicago.gov/content/dam/city/depts/zlup/Historic_Preservation/Publications/Emmett_Till_and_Mamie_Till-Mobley_House_report.pdf (Emmett Till Landmark designation) https://first500.org/about-first-500/ (First 500) https://www.noma.net/ (NOMA) https://bwa-network.square.site/ (Black Women in Architecture Network) https://www.instagram.com/tangibleremnants/ (Tangible Remnants on Instagram) https://www.podpage.com/tangible-remnants/ (Tangible Remnants Website) https://linktr.ee/TangibleRemnants (LinkedTr.ee for resources) https://gablmedia.com/ (Gabl Media Network) https://sarahgilberg.bandcamp.com/releases (Sarah Gilberg's Music) Bio: https://www.linkedin.com/in/tiara-hughes-noma-realtor%C2%AE-5a8b913a/ (Tiara Hughes ), A St. Louis native, now based in Chicago, Tiara Hughes is a Senior Urban Designer at Skidmore, Owings & Merrill (SOM), an adjunct professor at the Illinois Institute of Technology, a Commissioner with the City of Chicago Landmarks Commission, and a real estate professional. She is a devoted activist, educator and advocate for underrepresented communities and voices, and currently serves on the Board for the National Organization of Minority Architects (NOMA) and the Charnley-Persky House Board of Directors for the Society of Architectural Historians. Tiara's personal experiences in the industry along with her passion for advocacy led her to establish a national research initiative called FIRST 500 in 2018. As the founder and executive director of FIRST 500, Tiara travels the country to raise awareness of the importance of Black Women Architects throughout history and their contribution to the built environment. Tiara is a believer in giving back to her community, serving as a co-leader of SOM's ACE Mentorship program in Chicago. As a designer, Tiara is driven by creating work that emphasizes greater socioeconomic equity and cultural awareness. She believes "Ultimately our efforts to positively impact communities of color will expand outward and evolve our academic institutions, our firms, our industry and by extension, our communities." In 2021, Tiara received the prestigious AIA Associates Award, given by the Institute to associate members who best exemplify the highest qualities of leadership and have demonstrated an unparalleled commitment to their component or region's membership. **Thank you to this Episode's Sponsor: http://bqe.com/masterclass (BQE) makes it easy to manage your projects and people, for maximum productivity and ultimate profitability. Start implementing powerful systems for the profitability you need and the freedom you want. Join Douglas Tieger, FAIA for the next Designing Your Business Masterclass, brought to you by BQE CORE. Every live masterclass session is free and includes AIA continuing education credit. Register now at bqe.com/masterclass. **Some of the links above may be Amazon affiliate links, which means that if you choose to make a purchase, I will earn a commission. This commission comes at no additional cost to...

https://entrearchitect.com/wp-content/uploads/2022/02/Tiara-HughesChiHeadShots9747FINALlarge1-scaled.jpg ()The First 500, An Update A St. Louis native, now based in Chicago, Tiara Hughes is a Senior Urban Designer at Skidmore, Owings & Merrill (SOM), an adjunct professor at the Illinois Institute of Technology, a Commissioner with the City of Chicago Landmarks Commission, and a real estate professional. She is a devoted activist, educator and advocate for underrepresented communities and voices, and currently serves on the Board for the National Organization of Minority Architects (NOMA) and the Charnley-Persky House Board of Directors for the Society of Architectural Historians. Tiara’s personal experiences in the industry along with her passion for advocacy led her to establish a national research initiative called FIRST 500 in 2018. As the founder and executive director of FIRST 500, Tiara travels the country to raise awareness of the importance of Black Women Architects throughout history and their contribution to the built environment. Tiara is a believer in giving back to her community, serving as a co-leader of SOM's ACE Mentorship program in Chicago. As a designer, Tiara is driven by creating work that emphasizes greater socioeconomic equity and cultural awareness. She believes “Ultimately our efforts to positively impact communities of color will expand outward and evolve our academic institutions, our firms, our industry and by extension, our communities.” In 2021, Tiara received the prestigious AIA Associates Award, given by the Institute to associate members who best exemplify the highest qualities of leadership and have demonstrated an unparalleled commitment to their component or region's membership. This week at EntreArchitect Podcast, The First 500, An Update with Tiara Hughes.  Connect with Tiara at https://first500.org (First 500), or find her online on https://www.facebook.com/tiara.hughes.52?ref=br_rs (Facebook), https://twitter.com/thughes01 (Twitter), or https://www.linkedin.com/in/tiara-hughes-noma-realtor®-5a8b913a/?locale=de_DE (LinkedIn). Please visit Our Platform Sponsors https://arcat.com (ARCAT) is the online resource delivering quality building material information, CAD details, BIM, Specs, and more… all for free. Visit ARCAT now and subscribe to http://arcat.com (ARCATECT Weekly and ARCATAlert). http://EntreArchitect.com/Freshbooks (Freshbooks) is the all in one bookkeeping software that can save your small architecture firm both time and money by simplifying the hard parts of running your own business. Try Freshbooks for 30 days for FREE at http://EntreArchitect.com/Freshbooks (EntreArchitect.com/Freshbooks). Visit our Platform Sponsors today and thank them for supporting YOU… The EntreArchitect Community of small firm architects. Mentioned in this Episode https://entrearchitect.com/podcast/entrearch/first-500-project/ (EA222: The First 500 Project with Tiara Hughes of NOMA [Podcast])   The post https://entrearchitect.com/podcast/entrearch/the-first-500-an-update-1/ (EA443: Tiara Hughes – The First 500, An Update) appeared first on https://entrearchitect.com (EntreArchitect // Small Firm Entrepreneur Architects).

In this episode we talk about spaces for leisure and socialising. The pandemic has radically altered our experience of public spaces for socialising. Now we are out of lockdown and spaces for nightlife and indoor socialising are open again, they have taken on new meanings and significance. So we wanted to look at how spaces for leisure and socialising have always been shaped by the cultural values, social norms and fashions of a time. The contributors to this episode are: Dr James Nott is Lecturer in the School of History at the University of St Andrews. James is a social and cultural historian, his book Going to the Palais: a social and cultural history of dancing and dance halls in Britain 1918-1960 was published in 2015 Dr Catharine Rossi is Associate Professor in Design History at Kingston University. Catherine's research interests range from craft to nightclubs and in 2018 she co- curated an exhibition titled Night Fever: Designing Club Culture 1960 to Today which opened at the Vitra Design Museum and toured various museums, most recently the V&A Dundee in May 2021. Dr Alistair Fair who is Reader in Architectural History at The University of Edinburgh. Alistair is interested in the relationship between architecture and wider social and political history, his book Modern Playhouses: an Architectural History of Britain's New Theatres, 1945-1985 was published in 2018 This podcast has been produced by the Society of Architectural Historians of Great Britain - SAHGB. Established in 1956, we're the leading subject association for architectural history in the United Kingdom. Our educational mission is to promote architectural history inclusively to diverse audiences. Our mantra is: ‘All places, all periods, all welcome.' We promote knowledge, through learning education and research. We disseminate that knowledge through programming, content and publications. And we advocate for the discipline and our members. To find out more about our work and to support our educational mission please visit our website: sahgb.org.uk, or follow us @theSAHGB on Twitter, or on Facebook. We are open to all. Credits: This podcast series has been created by Jessica Kelly, Matthew Lloyd Roberts and Neal Shasore. The series is produced by Front Ear, to find out more about them visit frontearpodcasts.com.

Over the past year, the connections between our built environment and our health have been made clearer than ever before. In this episode we will be examining the changing way that societies through history have addressed these problems by building institutions that provide different forms of healthcare. Our contributors discussed what lessons we can learn from the history of architecture and health, considering the connections between the built environment and the treatment of different illnesses, maladies and afflictions. Ed DeVane, a PhD student in the Centre for the History of Medicine at the University of Warwick, who researches the planning, design, construction of NHS facilities in postwar Britain, and is also a fellow in the Parliamentary Office of Science and Technology. Ann-Marie Akehurst, an independent Architectural Historian and Programmes Officer of the Society of Architectural Historians of Great Britain, who works on Early Modern Architectural History, particularly the development of hospitals and the institutions of healthcare. Will Palin is the Chief Executive of Barts Heritage, a charity concerned with restoring the historic St Bart's Hospital, London, previously serving as the Conservation Director at the Old Royal Naval College, Greenwich and Director of SAVE Britain's Heritage. Sarah Akigbogun is an architect, photographer and film-maker whose historical research has examined The Retreat in York, an institution for the treatment of mental health needs founded in the 18th century, and whose work addresses race, gender and problems of representation in architecture. Your hosts were Matthew Lloyd Roberts and Dr Jessica Kelly For more details on the Society of Architectural Historians and their activities check out the website: https://www.sahgb.org.uk/ This podcast is produced by Front Ear Podcasts https://www.frontearpodcasts.com/

Thomas Rinaldi is an architectural designer. He has degrees from Georgetown and Columbia Universities and has written several architecture books and his photographs have been published in the New York Times, Wall Street Journal and New York Post. He has lectured widely, including at the New York Public Library and the Society of Architectural Historians.Book link: Patented: 1,000 Design Patents Co-Host Rafael Testai

In this episode we talk about Architecture and Empire. Our contributors discuss how the legacies of imperialism are manifested in the built environment from London to India and Beirut. We talk about the spectacular buildings of the state and the mundane buildings of bureaucracy, as well as temporary displays of imperialism and the educational institutions built by missionaries. Contributors: Elsie Owusu OBE is a Ghanaian-born British architect, a founding member and the first chair of the Society Black Architects. She co-led the refurbishment of the Supreme Court of the United Kingdom in 2009. She has been an elected Member of the RIBA Council since 2014 and was the founding vice-chair of the London School of Architecture. Shahmima Akhtar is a historian of race, migration and empire. She is lecturer in history at Royal Holloway University of London. She is currently working on the book Exhibiting Irishness: Empire and Identity, 1851-1970 to be published with Manchester University Press in September 2022. Tania Sengupta is Associate Professor at the Bartlett School of Architecture. Her research explores architectural histories and urbanisms in 'non-western' worlds with a particular focus on the colonial, post-colonial and contemporary architecture of South Asia. Yasmina El Chami is an architect and a final-year PhD Candidate in Architecture at the University of Cambridge. Her current research examines the intersections of colonial and imperial histories with the production of architecture and the built environment, focusing in particular on missionary educational institutions in Lebanon. Your hosts were Dr Jessica Kelly and Matthew Lloyd Roberts. For more details on the Society of Architectural Historians and their activities check out the website: https://www.sahgb.org.uk/ Produced by Front Ear Podcasts - www.frontearpodcasts.com

In this episode, recorded for Women's history month, we think about the apparent lack of women in architectural history. We explore the stories of women working in architecture in an attempt to rebalance this absence. Our contributors talk about what it means to present more diverse stories about who creates our built environment. Contributors: Sarah Akigbogun is an architect and a filmmaker. Sarah is the founder of Studio Aki, which is an transdisciplinary architecture and research practice committed to creating, socially-engaged projects. Sarah is working on a film about her search for the histories of female architects of colour. Elizabeth Darling, who is Reader in Architectural History at Oxford Brookes University, has a particular interest in modernism and gender; Elizabeth has written widely about the history of women in architecture: Darling, E., and L. Walker, AA Women in Architecture, 1917-2017 (AA Publications, 2017) Darling, E., and N. R. Walker, Suffragette City: Women, Politics and the Built Environment (Taylor & Francis Group, 2019) Darling, E., and L. Whitworth, Women and the Making of Built Space in England, 1870–1950 (Routledge, 2017) Erin McKellar is Assistant Curator Exhibitions at Sir John Soane's Museum in London. Erin has researched the history of housing exhibitions and modernism and she is interested in how women have used curation as a way of being involved in architectural production. Your hosts were Dr Jessica Kelly and Matthew Lloyd Roberts For more details on the Society of Architectural Historians and their activities check out the website: https://www.sahgb.org.uk/ Produced by Front Ear Podcasts - www.frontearpodcasts.com

For your audible dining pleasure, today is a sumptuous Modernist buffet featuring Ralph Rapson, Elizabeth Schue Close, Frank Lloyd Wright, John Howe, and save room for dessert, a hazelnut Bjarke Ingels topped with marscapone. Yum! Jane King Hession is a Minneapolis-based architectural writer and historian specializing in midcentury modernism. With degrees in English and Art History and architecture, she is past president of the Frank Lloyd Wright Building Conservancy and the Minneapolis Chapter of the Society of Architectural Historians. Her latest book is Elizabeth Scheu Close: A Life in Modern Architecture, and she’s also written Frank Lloyd Wright in New York: The Plaza Years; John H. Howe, Architect: From Taliesin Apprentice to Master of Organic Design; and wait, there’s more.  Minnesotans loved her book Ralph Rapson: Sixty Years of Modern Design which won the David Gebhard Award, named for the well-known author of LA Modernism books.

This episode features a conversation with Professor Amber Wiley. She is an old friend who is an Assistant Professor in the Art History Department at Rutgers University and a scholar who has traveled the world studying culture.Quote:"The Civil Rights movement didn't begin in Montgomery and it didn't end in the 1960s. It continues on to this very minute." - Julian Bond Timestamps:13:34 - Guatemala17:36 - Africa (Ghana & Ethiopia)20:20 - Being called a 'white person' in Africa24:14 - India (Mumbai/Bombay, Goa, Delhi, Jaipur, Udaipur)27:00 - Vietnam (Ho Chi Min City/Saigon)32:00 - War Remnants Museum (Vietnam)36:15 - Mexico (Tlatelolco)Links:Society of Architectural Historians: H. Allen Brooks Travelling FellowshipAmber's blog post: An American in Saigon Da 5 Bloods & Black Vietnam Veterans article in Time MagazineTlatelolco, Mexico: Memorial 68 MuseumVietnam: War Remnants MuseumTangible Remnants on InstagramTangible Remnants on FacebookBio: Amber Wiley specializes in architecture, urbanism, and African American cultural studies. Her research interests are centered on the social aspects of design and how it affects urban communities - architecture as a literal and figurative structure of power. She focuses on the ways local and national bodies have made the claim for the dominating narrative and collective memory of cities and examines how preservation and public history contribute to the creation and maintenance of the identity and “sense of place” of a city.Her teaching approach mirrors her dedication to critical thinking about the human condition in the built environment, and the creation, evolution, and maintenance of cities, neighborhoods, and communities. She strives to actively engage in discourses that are significant across academic fields. Her theoretical and analytic background was founded in art and architectural history methodology, as well as the interdisciplinary methods of American Studies. She combines analysis of aesthetics and socio-cultural influences on community building with questions about the meaning of culture, authority, and agency.She is active in preservation policy as well as various professional organizations. She has served on the National Park System Advisory Board Landmarks Committee, and on the boards of the Vernacular Architecture Forum, Latrobe Chapter of the Society of Architectural Historians, and the Yale Black Alumni Association.Find Amber on LinkedIn, Instagram, and Twitter.**Some of the links above may be Amazon affiliate links, which means that if you choose to make a purchase, I will earn a commission. This commission comes at no additional cost to you.** **This episode is sponsored by www.Smartsheet4architects.com, a better way to manage architecture projects.**

By 1914 Frank Lloyd Wright had become one of America's most influential architects. But that August a violent tragedy unfolded at his Midwestern residence and studio. In this week's episode of the Futility Closet podcast we'll describe the shocking attack of Julian Carlton, which has been called "the most horrific single act of mass murder in Wisconsin history." We'll also admire some helpful dogs and puzzle over some freezing heat. Intro: In 1992 by Celess Antoine patented an umbrella for dogs. Ignaz Moscheles' piano piece "The Way of the World" reads the same upside down. Sources for our feature on the Taliesin killings: William R. Drennan, Death in a Prairie House: Frank Lloyd Wright and the Taliesin Murders, 2007. Ron McCrea, Building Taliesin: Frank Lloyd Wright's Home of Love and Loss, 2013. Paul Hendrickson, Plagued by Fire: The Dreams and Furies of Frank Lloyd Wright, 2019. Meryle Secrest, Frank Lloyd Wright: A Biography, 1998. Anthony Alofsin, "Loving Frank; Death in a Prairie House: Frank Lloyd Wright and the Taliesin Murders," Journal of the Society of Architectural Historians 69:3 (September 2010), 450-451. Christopher Benfey, "Burning Down the House," Harper's Magazine 339:2035 (December 2019), 88-94. Naomi Uechi, "Evolving Transcendentalism: Thoreauvian Simplicity in Frank Lloyd Wright's Taliesin and Contemporary Ecological Architecture," Concord Saunterer 17 (2009), 73-98. Jonathan Morrison, "Frank Lloyd Wright: The Giant Talent With Shaky Foundations," Times, Jan. 4, 2020, 16. Michael Prodger, "Plagued By Fire by Paul Hendrickson -- Frank Lloyd Wright, a Life of Disaster and Disarray," Guardian, Nov. 22, 2019, 14. Philip Kennicott, "He Burned Frank Lloyd Wright's House and Killed His Mistress -- But Why?", Washington Post, Nov. 22, 2019. "Monumental Achievements: Frank Lloyd Wright, an American Great Whose Life Was as Colourful as His Buildings Were Breathtaking," Sunday Times, Oct. 20, 2019, 32. John Glassie, "What Kept Wright From Running Dry?", Washington Post, Oct. 6, 2019, E.12. Ron Hogan, "The Tragic Story of Guggenheim Architect Frank Lloyd Wright's Secret Love Nest," New York Post, Oct. 5, 2019. Leanne Shapton and Niklas Maak, "The House That Love Built -- Before It Was Gone," New York Times, July 4, 2016. Ron McCrea, "August, 1914: Small-Town Wisconsin Rises to the Occasion of the Taliesin Mass Murder," [Madison, Wis.] Capital Times, Aug. 14, 2014. Mara Bovsun, "Cook Massacres Seven at Wisconsin Home Frank Lloyd Wright Built for His Mistress," New York Daily News, Jan. 25, 2014. Patricia Wolff, "Tranquil Taliesin Harbors Tragic Tale," Oshkosh [Wis.] Northwestern, June 26, 2011, A.1. Ron McCrea, "Taliesin's Postcard Memories Rare Photos Reveal Scenes From Frank Lloyd Wright's Pre-Fire Dwellings," Madison [Wis.] Capital Times, March 23, 2011, 9. Marcus Field, "Architect of Desire," Independent on Sunday, March 8, 2009, 14. Robert Campbell, "House Proud: Paying Homage to Frank Lloyd Wright's Home, Taliesin East," Boston Globe, Dec. 13, 1992, 17. Image: The Taliesin courtyard after the attack and fire. Frank Lloyd Wright is at left. Listener mail: "Just Nuisance," Simonstown.com (accessed Sept. 25, 2020). Kirsten Jacobs, "The Legendary Tale of Just Nuisance," Cape Town Etc, Jan. 28, 2020. The Kitchen Sisters, "Turnspit Dogs: The Rise and Fall of the Vernepator Cur," NPR, May 13, 2014. Natalie Zarrelli, "The Best Kitchen Gadget of the 1600s Was a Small, Short-Legged Dog," Atlas Obscura, Jan. 11, 2017. "Sewing Machine Worked by a Dog," Futility Closet, Oct. 16, 2011. "Turnspit Dogs," Futility Closet, Nov. 10, 2006. Wikipedia, "Newfoundland (dog)," accessed Sept. 24, 2020. Stanley Coren, "The Dogs of Napoleon Bonaparte," Psychology Today, March 8, 2018. "Beach Rescue Dog Alerts Swimmer," BBC News, 23 August 2007. Adam Rivera, David Miller, Phoebe Natanson, and Andrea Miller, "Dogs Train Year-Round to Save Lives in the Italian Waters," ABC News, April 2, 2018. Tom Kington, "Italy's Lifesaving Dogs Swim Towards Foreign Shores," Times, March 10, 2020, 31. "Italy's Canine Lifeguards," NDTV, Aug. 23, 2010 (contains several photos). Anna Gragert, "Newfoundland Dogs Help the Italian Coast Guard Save Lives," My Modern Met, Aug. 5, 2015 (contains several photos). This week's lateral thinking puzzle was contributed by listener Garth Payne, who sent this corroborating link (warning -- this spoils the puzzle). You can listen using the player above, download this episode directly, or subscribe on Google Podcasts, on Apple Podcasts, or via the RSS feed at https://futilitycloset.libsyn.com/rss. Please consider becoming a patron of Futility Closet -- you can choose the amount you want to pledge, and we've set up some rewards to help thank you for your support. You can also make a one-time donation on the Support Us page of the Futility Closet website. Many thanks to Doug Ross for the music in this episode. If you have any questions or comments you can reach us at podcast@futilitycloset.com. Thanks for listening!

In what ways is the Talmud like a building? How can a bunch of poles and wires—the Eruv—create a spiritual community?Dr. Mitchell Schwarzer is a historian of architecture who writes and teaches about urban and suburban built environments. He is Professor of Architectural History and Chair of the Department of Visual Studies at California College of the Arts. He also is the author of several books, most recently Urban Development and Disruption in Twentieth Century Oakland, set to publish in 2021. In addition to his books, his writing has appeared in numerous magazines and journals, including his article on The Architecture of the Talmud which was published in the Journal of the Society of Architectural Historians.Special thanks to our executive producer, Adina KarpView a source sheet for this episode here.Keep up with Interleaved on Facebook and Twitter.Music from https://filmmusic.io"Midnight Tale" by Kevin MacLeod (https://incompetech.com)License: CC BY (http://creativecommons.org/licenses/by/4.0/)

Become an insider by supporting the show at https://glow.fm/archispolly where you can support the show on a recurring or one-time basis! Amber Wiley is an Assistant Professor of Art History at Rutgers University. She provided insight on Tyler House neighboring areas like LeDriot Park and Dunbar High School. Born in Oklahoma, Wiley recalls visiting her grandfather in DC which set the foundation of her future works. Professor Wiley research interests center on the social aspects of design and how it affects urban communities - architecture as a literal and figural structure of power. She focuses on the ways local and national bodies have made the claim for the dominating narrative and collective memory of cities and examines how preservation and public history contribute to the creation and maintenance of the identity and sense of place of a city. Her publications cover African American cultural heritage, urbanism in New Orleans, school design, urban renewal, and preservation. Her current book project is entitled Concrete Solutions: Architecture, Activism and Black Power in the Nation's Capital. Amber was co-Principal Investigator of the National Historic Landmark Nomination Update for the Carter G. Woodson Home National Historic Site. She gave expert testimony for the highly contested Barry Farm historic landmark designation in Washington, DC. She also worked as a consultant for the National Building Museum exhibition “Community Policing in the Nation's Capital: The Pilot District Project, 1968-1973.” She has served on the National Park System Advisory Board Landmarks Committee, and on the boards of the Vernacular Architecture Forum, Latrobe Chapter of the Society of Architectural Historians, and the Yale Black Alumni Association Amber received her Ph.D. in American Studies from George Washington University. She also holds a Master's in Architectural History and Certificate in Historic Preservation from the University of Virginia School of Architecture, and a B.A. in Architecture from Yale University. Links: Website: https://ambernwiley.com/ “The Dunbar High School Dilemma,” Giving Preservation a History: Histories of Historic Preservation in the United States, 2 ed. Edited by Max Page and Randall Mason (London, New York, NY: Routledge, 2019) “A Model School for a Model City: Shaw Junior High School as a Monument to Planning Reform,” Designing Schools: Space, Place and Pedagogy. Edited by Julie Willis and Kate Darian-Smith (London, New York, NY: Routledge, 2017): 158-174 “A Modern-Day WPA,” Bending the Future: Fifty Ideas for the Next Fifty Years of Historic Preservation in the United States. Edited by Max Page and Marla R. Miller (Amherst: University of Massachusetts Press, 2016): 261-264 “Geography, Planning, and Performing Mobility in New Orleans,” Walking in Cities: Quotidian Mobility as Urban Theory, Method, and Practice. Edited by Timothy Shortell and Evrick Brown (Philadelphia: Temple University Press, 2016): 177-196

Good morning, RVA! It’s 68 °F, and today looks a lot like yesterday. Expect heat, humidity, and a (smaller) chance of rain this evening. It’s vampire time in Richmond: Get your physical activity in before or after the sun comes up / goes down.Water coolerRichmond Police report that Willie L. Johnston, 81, was shot to death on the 1400 block of Stoney Run Road early yesterday morning. According to RPD data, 21 people have been murdered in 2020.As of this morning, the Virginia Department of Health reports 471↗️ new positive cases of the coronavirus in the Commonwealthand 9↗️ new deaths as a result of the virus. VDH reports 56➡️ new cases in and around Richmond (Chesterfield: 20, Henrico: 13, and Richmond: 23). Since this pandemic began, 213 people have died in the Richmond region. I’m still noodling on including sparklines in this email, because all of today’s emoji trend arrows (remember: they represent the change in seven-day average as compared to yesterday) have flipped directions but the actual changes in seven-day averages are pretty small. For example, in this graph you can see the number of new reported cases has remained basically flat over the last bunch of days.Police once again filled our city’s streets with tear gas last night.The Governor’s decision to close the Lee Circle overnight provides the context for last night’s protests and the police’s now-routine decision to use chemical weapons on Richmonders. First, the Governor’s decision is fairly far-reaching, prohibiting climbing on the statue, limiting occupancy in the circle to 500 people, and preventing folks from adding additional context to the statue—whether that be signs, flags, posters, or more paint. The circle will close at sunset and open at sunrise. I mostly understand the need—or at least the desire—to close the park at night and prohibit benign-but-illegal behavior. But preventing folks from continuing to evolve that space as they grieve, celebrate, heal, and memorialize? Really bad call by the Governor, who himself understand the symbolic power of the circle and held a rally there just a couple weeks ago. Yesterday, I wrote a bunch of words about how the community-driven placemaking at Lee Circle is a model we should learn from and follow. The State should buzz off and mind their own business.So, with Lee Circle off the table as a rallying ground for protests, some folks ended up behind City Hall on Marshall Street—the same spot where the Mayor apologized in front of a crowd of hundreds for the Richmond Police Department’s decisions to gas peaceful protestors at the Lee Monument. It looks like this group of protestors blocked the streets, set up a couple tents, and hunkered down for the night. I don’t know what kicked it off, but at 12:42 AM RPD declared the crowd “an unlawful assembly due to conditions of activity such as sit-ins, sit-downs, blocking traffic, blocking entrances or exits of buildings that impact public safety or infrastructure.” That’s real rich coming from the the folks who still have huge concrete barriers setup on Grace Street blocking traffic and the entrance to the literal headquarters of public safety, but, whatever.At some point, for some reason, the police decided folks needed to go and just absolutely inundated the area with tear gas. This video of cops treating the place I go to watch public meetings like a war zone is exhausting. Watching cops shoot a tear gas canister at a person just feet from a bus stop I use all the time is exhausting. Listen, I’m not out in the streets each night and am tucked safely in bed while people scream and run and cough just a couple of miles from my house, but each morning I wake up thoroughly exhausted and confused. It’s like my brain can’t or won’t associate these videos that look like a found-footage disaster movie with the places I frequent all the time. That’s City Hall! I’m literally there all of the time! That’s the GRTC Temporary Transfer Plaza! I just rode through 9th Street with my son the other day! What the heck is going on?Yesterday, at City Council’s informal meeting (which I ended up live tweeting) Councilmember Jones asked Mayor Stoney if he would ban the use of chemical weapons by the Richmond Police Department. The Mayor equivocated a bit and repeated what he’s said before, something along the lines of he sees the use of tear gas as an absolute last resort. I just cannot reconcile what the Mayor said in that meeting yesterday to the behavior of the police last night. I absolutely refuse to believe that there was no other options to disperse last night’s crowd—they’d set up a movie screen and camp chairs for Pete’s sake! Who was in charge last night, the Mayor and the RPD or the Governor and the Virginia State Police? If the former, I want to know how he can possibly think last night’s response was justified. If the latter, I would love to hear someone ask a bunch of questions about police use of chemical weapons (and the closing of the Lee Circle) at today’s regularly-scheduled coronavirus briefing.As the police give us nightly examples of the desperate need for public safety reform, City Council and the Mayor’s administration have started to take steps toward policy change. Yesterday, the Mayor presented his Local Roadmap for Public Safety Reform (PDF) at Council’s informal meeting. It’s mostly stuff we’ve heard him commit to before: updating the RPD’s existing policies on chokeholds and Duty to Intervene, creating a Civilian Review Board, the Marcus Alert, and creating the Richmond Task Force on Reimagining Public Safety. One new piece of information: The City Attorney said that a CRB created by Council could in fact have subpoena power. This is counter to what I’d heard previously, and, if true, would make setting up a CRB with actual teeth a lot easier. Later on, at Council’s formal meeting, a representative from the Richmond Transparency and Accountability Project underscored the importance of doing real, legit community engagement before creating a review board. Keep this in mind as the various councils, tasksforces, and groups start meeting to put together public safety reform policies.Actually, the City Attorney featured pretty heavily in City Council’s discussion, which I wish would happen more. About Confederate monuments, he basically said that taking down any of the statues before July 1st and without following the State’s procedures would result in either the City, the Mayor, or City employees being exposed to possibly civil or criminal lawsuits. The Mayor said he’d take one for the team, but was unwilling to put employees in that position. Also, keep in mind that the monuments can’t just come down immediately on July 1st. The State’s legislation, HB 1537, requires localities to hold a public hearing before removing, relocating, contextualizing, or covering any monument, and they’ve got to publish notice of that hearing 30 days in advance. Plus, after Council votes to get rid of our monuments they must “first, for a period of 30 days, offer the monument or memorial for relocation and placement to any museum, historical society, government, or military battlefield.” So if the City were to put a public hearing date on the calendar today and get notice published in the paper tomorrow, we’re looking at August 23rd as the soonest possible takedown date. That’s almost nine weeks from now. I’m not saying that the nightly protests are about the Confederate monuments—they’re not, they’re about police violence. But, because Richmond, the Confederate monuments have become and will continue to be a focal point and symbol for folks' anger. I…don’t think we can handle nine more weeks with the monuments up, and someone needs to find a big brain attorney or talk to the Attorney General or the Governor or something. The situation in Richmond is real tenuous and only growing more so each night.Whew, OK. As part of their regular, non-pandemic, non-protest work, City Council adopted ORD. 2019–343, the Short Term Rental aka Airbnb ordinance with no amendments. This means you’ve got to live in any property you want to put on Airbnb for most of the year. I think that was the right call, and it’s great to see City Council actually writing and passing laws! Mark Robinson at the Richmond Times-Dispatch says Council also surplused the Public Safety Building and will begin the process of renaming the Lee Bridge.The last couple of Richmond 300 virtual summits take place this week. Tonight, tune in for the Diverse Economy summit at 6:00 PM. Make sure you read the related portion of the draft plan (PDF) and sign up over on the Eventbrite.This morning’s longreadSAH Statement on The Removal of Monuments to the Confederacy from Public SpacesThe Society of Architectural Historians seems like a very staid group, and yet, apparently, has “never before advocated for the direct removal of any historic resource, let alone listed monuments.”In contrast, Confederate monuments do not serve as catalysts for a cleansing public conversation, but rather express white supremacy and dominance, causing discomfort and distress to African-American citizens who utilize the public spaces these monuments occupy. Our inaction gives these monuments power. By leaving them in place, we allow the dead hand of the past to direct some Americans away from that which belongs to all of us. History has proven that progress is possible, but also that the persistent racial schism in our society will not be conquered without radical, sustained action. The removal of Confederate monuments is a necessary and important step in this process, and one that cannot wait any longer.If you’d like your longread to show up here, go chip in a couple bucks on the ol’ Patreon.

Landscape architect Ruth Shellhorn helped define the distinctive mid-century regional aesthetic of Southern California. Most well known for her work with Walt Disney on the original design of Disneyland, she also designed original landscape plans for the Bullock’s department stores and Fashion Square shopping centers, a landscape master plan for the University of California at Riverside, and a number of private gardens and estates for post-war movie stars, and the business and financial leaders of the Los Angeles region. She developed a distinctive palette of plant materials and her landscape designs refined an indoor-outdoor living concept that perfectly expressed the exuberance and optimism of the “Southern California look.” Kelly Comras is a Fellow of the American Society of Landscape Architects and a member of the State Bar of California. Her landscape architectural practice focuses on community-based open space design, research, and publication in the field of cultural landscape. She is a founding member of the The Cultural Landscape Foundation’s Stewardship Council, Past-President of the California Garden & Landscape History Society, and Chaired the Editorial Board for the journal, Eden. She lectures at such institutions as Harvard Graduate School of Design, Society of Architectural Historians, California Preservation Foundation, and others. Her book, Ruth Shellhorn, was released in 2016. The post Landscape Architecture, California Style – Ep 64 with Kelly Comras appeared first on Read Learn Live Podcast.

Welcome to the Elevator World News Podcast. This week’s news podcast is sponsored by elevatorbooks.com: www.elevatorbooks.com INAUGURAL CTBUH EVENT TO EXAMINE SKYSCRAPER “FIRSTS” Sponsored by Otis and including a presentation from ELEVATOR WORLD Correspondent Dr. Lee Gray, the inaugural First Skyscrapers|Skyscraper Firsts symposium is planned for October 31 as part of the Council on Tall Buildings and Urban Habitat's (CTBUH) 10th World Congress in Chicago. CTBUH and the Society of Architectural Historians will present the one-day event, culminating in a panel discussion among historians who will provide perspectives on the day's talks. Among points of discussion will be groundbreaking achievements — such as the elevator — in the formative years of the skyscraper. More information may be found at website. Image credit: CTBUH To read the full transcript of today's podcast, visit: elevatorworld.com/news Subscribe to the Podcast: iTunes│Google Play | SoundCloud│Stitcher │TuneIn

Part one of special podcast created for the Society of Architectural Historians, as my monthly Brooks blog report for April 2019. In this part, we talk about the soundscapes of industrial heritage, how sound impacts our experience of architecture, and how we can understand the different types of sound we might encounter at an industrial heritage site.

Part two of special podcast created for the Society of Architectural Historians, as my monthly Brooks blog report for April 2019. talk about what it means to hear industrial heritage sites as contemporary listeners, and how sound can be effectively curated and deployed as part of a public history experience.

How can the dead speak when we’ve deemed them too unimportant to listen? On this episode, we’ll explore what Lena Johamesson calls the “significant insignificances” of history through the lens of two Wisconsin fires: The Great Peshtigo Fire, and the fire and murders at Frank Lloyd Wright’s Taliesin. This week’s questions are: How and why do historical events and figures become significant? Is there a way to reframe the way we think about or approach history to elevate what Johamesson calls “the significant insignificances”? What tiny but crucial details do you care about in your historical subject of interest? Please be sure to get in touch with your answers! Find me on Twitter and Instagram @ladycryptoid and by email at ladycryptoid@gmail.com. Many, many thanks this week to Matt Spireng for permission to read his poem, “The Peshtigo Fire Cemetery,” and for his time and insight. You can find his poetry all over the place, but go ahead and buy his collections What Focus Is and Out of Body. REFERENCES AND FURTHER READING Brown, H. (2004). “The Air Was Fire”: Fire Behavior at Peshtigo in 1871. Fire Management Today, 64 (4), p. 20. Friedman, A.T. (2002). Frank Lloyd Wright and Feminism: Mamah Borthwick’s Letters to Ellen Key. Journal of the Society of Architectural Historians, 61 (2), p. 140-151. Holbrook, S. (1944). The Peshtigo Fire. The American Scholar, 13 (2), p. 201-209. Lyons, C. (2011). Hell on Earth: The Peshtigo Fire. History Magazine (Februrary/March), p. 38-40. Pernin, P. (1971). The Great Peshtigo Fire: An Eyewitness Account. The Wisconsin Magazine of History, 54 (4), p. 246-272. Peters, A. (2012). The House on the Ledge. Southwest Review, 97 (1), p. 89-112. Rosenwald, M.S. (2017). “The night America burned”: The deadliest -- and most overlooked -- fire in U.S. history. The Washington Post, 6 Dec 2017. Schwarz, F. D. (1996). 1871: One hundred and twenty-five years ago -- Two fires. American Heritage, 47 (6), p. 118-120 Spireng, M. J. (1998). The Peshtigo Fire Cemetery. College English, 60 (1), p. 67. Tarshis, L. (2015). The Blood-Red Night. Storyworks, 22 (4), p. 4. MUSIC CREDITS Intro: Ferera and Paaluhi, “The Saint Louis Blues” (W.C. Handy, composer) The Sky Ablaze: Moriz Rosenthal, Etude Nouvelle in A Flat and Etude in C Major, Op. 10, No. 1 (Frederic Chopin, composer) Bellini Ensemble Unique, Piano Sonata No. 14 in C sharp minor, “Moonlight” (Ludwig van Beethoven, composer) Mamah: National Parks Service, “Dawn Soundscape from the Sun Valley Trail” Conclusion: American Quartet, “Moonlight Bay” (Percy Wenrich, composer)

Ken Oshima (left) with Arata Isozaki (right)   We discuss the complexities of practicing architecture and architectural history across cultures, nationalities, and aesthetic regimes with Ken T. Oshima, Professor of Architecture at the University of Washington, Chair of the Japan Studies Program, and recent President of the Society for Architectural Historians. Topics include: the Edo period, Antonin Raymond,  Frank Lloyd Wright in Japan, the post-War modernists, Japanese global architects, as well as Professor Oshima's involvement in museum curation and architectural history. 

In 1905 Winchester Cathedral was in danger of collapsing as its eastern end sank into marshy ground. The surprising solution was to hire a diver, who worked underwater for five years to build a firmer foundation for the medieval structure. In this week's episode of the Futility Closet podcast we'll tell the story of William Walker and his curious contribution to saving a British landmark. We'll also contemplate a misplaced fire captain and puzzle over a shackled woman. Intro: Anthony Trollope became a prolific author by simply demanding it of himself. Wyoming's North Two Ocean Creek drains into both the Atlantic and the Pacific. Sources for our feature on William Walker: Ian T. Henderson and John Crook, The Winchester Diver, 1984. Barry Shurlock, The Winchester Story, 1986. Frederick Bussby, William Walker, 1970. John Crook and Yoshio Kusaba, "The Transepts of Winchester Cathedral: Archaeological Evidence, Problems of Design, and Sequence of Construction," Journal of the Society of Architectural Historians 50:3 (September 1991), 293-310. Gwilym Roberts, "How a Diver Saved Winchester Cathedral, UK: And Today's Solution?" Proceedings of the Institution of Civil Engineers -- Engineering History and Heritage 166:3 (August 2013), 164-176. "William Walker: The Diver Who Saved the Cathedral," Winchester Cathedral (accessed Feb. 25, 2018). "Images of History," Journal of Diving History 21:2 (Spring 2013), 40. John Crook, "William Robert Walker," Oxford Dictionary of National Biography, Sept. 23, 2004. "How a Diver Saved a Cathedral," Ohio Architect, Engineer and Builder 20:4 (October 1912), 61. "Foundations: The Use of Divers and the Grouting Machine," American Architect and Building News 93:1689 (May 6, 1908), 147. "Portland Cement in the Restoration of Winchester Cathedral," Cement 13:3 (July 1912), 84. "Winchester Cathedral," Journal of the Society of Estate Clerks of Works 19:222 (Dec. 1, 1906), 182. "Diving at Winchester Cathedral," American Architect 90:1607 (Oct. 13, 1906), 120. Charles William Domville-Fife, Submarine Engineering of To-Day, 1914. J.W. Overend, "Saving a Cathedral With a Diver," Scientific American 108:19 (May 10, 1913), 428. "Toilers Beneath the Sea," Popular Science 3 (1912), 1580. "Hidden Service," Expositor and Current Anecdotes 13:5 (February 1912), 302. "A Great Feat," Advance 62:2392 (Sept. 7, 1911), 303. David Newnham, "Statuesque Mistake," Times Educational Supplement, May 30, 2003, 5. Jonathan Petre and Hazel Southam, "Cathedral to Replace Statue of 'Wrong Man'," Telegraph, May 27, 2001. "Another Statue in Aid of Cathedral Hero," [Southampton] Southern Daily Echo, Dec. 21, 2001. "Croydon Man Helped to Save a Gothic Cathedral," Croydon Advertiser, May 15, 2014, 32. Andrew John Davies, "Site Unseen: 'Diver Bill', Winchester Cathedral," Independent, Oct. 4, 1996, L2. Sally A. Fall, "Winchester Cathedral Owes Debt to Diver," San Diego Union, June 26, 1988 G-3. "Diver Who Saved a Cathedral," New Zealand Herald, Nov. 1, 2011, C.4.   In this diagram, from Popular Science, 1912, two men operate a large pump at ground level. Below them, standing on a platform just above the water level, the diver's assistant pulls in and pays out the diver's air and signal lines as he moves about the trench. Walker, at the bottom, holds a bag of concrete that's just been lowered to him. The trenches were generally longer and narrower than depicted here, and the water would have been impenetrably clouded with sediment. Listener mail: "Police Want Anyone Who May Have Seen Toronto Firefighter on His Journey Across U.S. to Come Forward," CBC News, Feb. 14, 2018. Jeff Farrell, "Skier Who Went Missing From New York Mountain Slopes Ends Up Six Days Later in California Still Wearing Ski Clothes," Independent, Feb. 15, 2018. "Skier Lost in New York Doesn't Know How He Got to California," Associated Press, Feb. 14, 2018. "Toronto Firefighter Who Disappeared in New York and Wound Up in California, May Have Travelled Across U.S. Thanks to Friendly Truck Driver," Toronto Star, Feb. 14, 2018. Sofia Tancredi, "Anorexia Through the Ages: From Sainthood to Psychiatry," E/I Balance, March 3, 2013. Muriel Darmon, Becoming Anorexic: A Sociological Study, 2016. Jane E. Brody, "HEALTH; Personal Health," New York Times, May 19, 1988. Fernando Espi Forcen, "Anorexia Mirabilis: The Practice of Fasting by Saint Catherine of Siena in the Late Middle Ages," American Journal of Psychiatry, April 1, 2013. Wikipedia, "Fasting Girl" (accessed March 10, 2018). "Sarah Jacobs: The Fasting Girl," BBC Wales, March 14, 2011. This week's lateral thinking puzzle was contributed by listener Steven Jones. Here are two corroborating links (warning -- these spoil the puzzle). You can listen using the player above, download this episode directly, or subscribe on iTunes or Google Play Music or via the RSS feed at http://feedpress.me/futilitycloset. Please consider becoming a patron of Futility Closet -- on our Patreon page you can pledge any amount per episode, and we've set up some rewards to help thank you for your support. You can also make a one-time donation on the Support Us page of the Futility Closet website. Many thanks to Doug Ross for the music in this episode. If you have any questions or comments you can reach us at podcast@futilitycloset.com. Thanks for listening!

Sarah Williams Goldhagen is a contributing editor at Architectural Record and served as the Architecture Critic of The New Republic from 2005-2013. Her articles have also appeared in The New York Times, The American Prospect, and Art In America, and she has contributed scholarly essays to many publications, including Assemblage, The Harvard Design Magazine, and The Journal of the Society of Architectural Historians. Goldhagen's new book is Welcome to Your World: How the Built Environment Shapes Our Lives.

Paul Emmons is an Associate Professor at the Washington-Alexandria Architecture Centre of Virginia Tech, where he coordinates the Ph.D. program in architecture. Dr. Emmons received a doctorate from the University of Pennsylvania in 2003. His research in architecture focuses on the imaginative role of diagrams and technical drawing in architectural design. This work has been presented at numerous scholarly conferences, including Costoza (Italy), Savannah (Georgia), Pennsylvania State University, University of Newcastle upon Tyne (England), Harvard University, and the Architectural Association (London). His work has been presented before the Society of Architectural Historians, the College Art Association, and the Association of Collegiate Schools of Architecture. Some of this work has appeared in publications, recently including the Journal of the Society of Architectural Historians, the AA Files, and Body and Building (MIT Press). Dr. Emmons is a registered architect and maintains a small architectural practice following his earlier emphasis on practicing architecture after receiving a Master of Architecture degree from the University of Minnesota in 1986.

Los Angeles artist and special effects virtuoso Pat O’Neill filmed The Decay of Fiction (2002) in the landmark Ambassador Hotel, once the center of Hollywood celebrity culture. His film blurs the boundaries between architectural investigation, urban documentation, and aesthetic exploration. At once a poetic homage to classical film genres, it is also a suggestive indication of how remembering the city is changing in response to new technologies. Edward Dimendberg is Associate Professor of Film and Media Studies, Visual Studies, and German at the University of California, Irvine. He is author of Film Noir and the Spaces of Modernity (2004), co-editor of The Weimar Republic Sourcebook (1994), and currently serves as Multimedia Editor of the Journal of the Society of Architectural Historians.

Aspire Episode 22: April 16, 2007 The Society of Architectural Historians 60th Anniversary Conference in Pittsburgh PA, The William Penn Omni Hotel and Emio Greco/PC "Hell" dance performance at the Byham Theatre and The Divine Comedy of Dante. Listener Feedback at aspire@szilverwolf.com or 813-249-9222 Copyright © 2007 Szilverwolf LLC

Aspire Episode 22: April 16, 2007 The Society of Architectural Historians 60th Anniversary Conference in Pittsburgh PA, The William Penn Omni Hotel and Emio Greco/PC "Hell" dance performance at the Byham Theatre and The Divine Comedy of Dante. Listener Feedback at aspire@szilverwolf.com or 813-249-9222 Copyright © 2007 Szilverwolf LLC