BEGIN:VCALENDAR VERSION:2.0 METHOD:PUBLISH PRODID:-//Telerik Inc.//Sitefinity CMS 13.3//EN BEGIN:VEVENT DESCRIPTION:Architectural exhibitions\, despite their transient nature\, ha ve a profound influence in articulating movements\, sparking central discu ssions and marking traces in the \;field. They act as active agents th at represent\, culminate\, disseminate or project prevailing paradigms in architectural discourse at specific moments\, as demonstrated by the 1927 Deutscher Werkbund architecture exhibition\, the Strada Novissima at the 1 980 Venice Architecture Biennale\, and the 1988 Deconstructivist Architect ure exhibition at MoMA. \;Moreover\, like architectural competitions\, they serve as contact zones (see \;Footprint\, \;issue 26)\, fost ering \;confrontation\, negotiation and exchange among diverse actors in architecture &ndash\; a field that is\, by nature\, multi-authorial.Whi le architectural exhibitions may serve promotional purposes\, they are lar gely insulated from the market-driven stakes and commodification pressures that often influence art exhibitions\, as their exhibitable objects rarel y become collectible items. This relative autonomy has preserved their cri tical edge and has driven the rise of architectural exhibitions. Once a me ans for showcasing architectural work or scholarly expertise\, architectur al exhibitions have\, in recent decades\, evolved into an independent fiel d of study with distinct procedures\, methodologies\, historiographies and effects. As a medium of its own\, the exhibition both produces architectu re as an exhibitable object and advances knowledge production\, offering a lens to explore how research generates &ndash\; rather than merely uncove rs &ndash\; its subjects. Today\, these curatorial practices have converge d\, with architects and historians taking on the role of curators. Alongsi de the proliferation of biennials and research exhibitions\, the rise of c uratorial programmes within architecture departments across continents sit uates this historically radical force as a prominent agent of critical inq uiry.As a result\, architectural exhibitions have gained further agency wi th a significant impact\, producing what we refer to as the &lsquo\;exhibi tion effect&rsquo\;. This term\, playing with the terminology of the &lsqu o\;museum effect&rsquo\;\, which elevates the perceived value and signific ance of objects simply by placing them in a museum context\, and the &lsqu o\;Bilbao effect&rsquo\;\, which refers to the transformative impact of a landmark architectural project on a city&rsquo\;s economy\, tourism and gl obal image\, refers to the current ubiquitous disciplinary and cultural im pact of exhibitions.Recent journal issues including \;Log \;no. 20 (2010)\, \;OASE \;no. 88 (2012)\, and \;Architectural Theory Review \;23:1 (2019)\, discuss exhibition as a medium for architecture and knowledge production\, an environment\, a tool for representing and d isplaying architecture\, and a collective spatial experience. Building on this growing body of contemporary literature\, \;Footprint \;39 ai ms to probe the &lsquo\;exhibition effect&rsquo\; and the uncharted territ ories beyond with audacity. By re-evaluating definitions of the exhibition as an event\, a common ground\, an activist agency\, a power tool for pub licising and legitimising architecture\, and a means of collecting and rev ealing archives\, the issue seeks to critically address the status of inst itutions involved in collecting and displaying\, the privilege of visibili ty essential for exhibiting\, the comforts and discomforts associated with possessing or lacking recorded archives\, and the dynamics of curatorial networks.In this pivotal moment\, as what was once considered the peripher y shifts to the centre of global exhibitions &ndash\; challenging and dive rsifying the previously dominant Euro-American model\, as seen in prominen t venues such as Venice and Sharjah &ndash\; \;Footprint \;39 invi tes contributors to explore the following questions: How can exhibitions o ccur \;beyond \;established systems\, methods and institutions? Wh at new materialities and methodologies do exhibitions inspire? In what way s can exhibitions become displays of discursivity to debate and adjust our worlds? How might unrecorded historical experiments be brought into the p resent? What new perspectives do exhibitions offer on unconventional archi ves? How can curatorship from the &lsquo\;periphery&rsquo\; itself redefin e the field? How can we utilise the unique agency of curatorial studies in architectural education? What new roles are emerging for curators in unde rstudied territories and geographies toward a global discourse and inclusi ve scholarship? Finally\, as exhibitions shift from being alternative to i ncreasingly central &ndash\; yet still arguably radical &ndash\; practices \, how might curatorial acts serve as a fulcrum to address contemporary cr ises and conflicts? Contributions from underrepresented scholars and resea rchers working on the thresholds of architectural history and theory and i ts allied disciplines are particularly welcome.Authors of \;full artic les \;(6000&ndash\;8000 words including endnotes) can submit their con tributions \;via Footprint&rsquo\;s online platform \;before \ ;1 August 2025\, with all submissions undergoing double-blind peer-review. Review articles and visual essays (unpublished exhibition proposals are al so welcome) \;(2000&ndash\;4000 words including endnotes) will be sele cted by editors based on a 500-word summary \;emailed to the editors&n bsp\;before \;1 August 2025.Authors should include a \;100-word bi o \;with their submissions and secure permission to use any images or copyrighted materials.For more information\, please consult Footprint&rsqu o\;s Author Guidelines at: \;https://journals.open.tudelft.nl/footprin t/about/submissionsCorrespondence should be directed to editors Esin K&oum l\;mez Dağlıoğlu and Esra Kahveci at \;editors.footprint@gmail.com.Foo tprint \;39 is scheduled for publication in the autumn of 2026. DTEND;VALUE=DATE:20250802 DTSTAMP:20250313T125956Z DTSTART;VALUE=DATE:20250204 LOCATION: SEQUENCE:0 SUMMARY:Call for Papers: The Exhibition Effect and Beyond (Footprint 39) UID:RFCALITEM638774675966220817 X-ALT-DESC;FMTTYPE=text/html:

Architectural exhibitions\, despite their t ransient nature\, have a profound influence in articulating movements\, sp arking central discussions and marking traces in the \;field. They act as active agents that represent\, culminate\, disseminate or project prev ailing paradigms in architectural discourse at specific moments\, as demon strated by the 1927 Deutscher Werkbund architecture exhibition\, the Strad a Novissima at the 1980 Venice Architecture Biennale\, and the 1988 Decons tructivist Architecture exhibition at MoMA. \;Moreover\, like architec tural competitions\, they serve as contact zones (see \;Footprint\ , \;issue 26)\, fostering \;confrontation\, negotiation and e xchange among diverse actors in architecture &ndash\; a field that is\, by nature\, multi-authorial.

While architectural exhibitions may serve promotional purposes\, they are largely insulated from the market-driven stakes and commodification pressures that often influence art exhibitions\ , as their exhibitable objects rarely become collectible items. This relat ive autonomy has preserved their critical edge and has driven the rise of architectural exhibitions. Once a means for showcasing architectural work or scholarly expertise\, architectural exhibitions have\, in recent decade s\, evolved into an independent field of study with distinct procedures\, methodologies\, historiographies and effects. As a medium of its own\, the exhibition both produces architecture as an exhibitable object and advanc es knowledge production\, offering a lens to explore how research generate s &ndash\; rather than merely uncovers &ndash\; its subjects. Today\, thes e curatorial practices have converged\, with architects and historians tak ing on the role of curators. Alongside the proliferation of biennials and research exhibitions\, the rise of curatorial programmes within architectu re departments across continents situates this historically radical force as a prominent agent of critical inquiry.

As a result\, architectura l exhibitions have gained further agency with a significant impact\, produ cing what we refer to as the &lsquo\;exhibition effect&rsquo\;. This term\ , playing with the terminology of the &lsquo\;museum effect&rsquo\;\, whic h elevates the perceived value and significance of objects simply by placi ng them in a museum context\, and the &lsquo\;Bilbao effect&rsquo\;\, whic h refers to the transformative impact of a landmark architectural project on a city&rsquo\;s economy\, tourism and global image\, refers to the curr ent ubiquitous disciplinary and cultural impact of exhibitions.

Rece nt journal issues including \;Log \;no. 20 (2010)\, \ ;OASE \;no. 88 (2012)\, and \;Architectural Theory Re view \;23:1 (2019)\, discuss exhibition as a medium for architect ure and knowledge production\, an environment\, a tool for representing an d displaying architecture\, and a collective spatial experience. Building on this growing body of contemporary literature\, \;Footprint  \;39 aims to probe the &lsquo\;exhibition effect&rsquo\; and the unch arted territories beyond with audacity. By re-evaluating definitions of th e exhibition as an event\, a common ground\, an activist agency\, a power tool for publicising and legitimising architecture\, and a means of collec ting and revealing archives\, the issue seeks to critically address the st atus of institutions involved in collecting and displaying\, the privilege of visibility essential for exhibiting\, the comforts and discomforts ass ociated with possessing or lacking recorded archives\, and the dynamics of curatorial networks.

In this pivotal moment\, as what was once cons idered the periphery shifts to the centre of global exhibitions &ndash\; c hallenging and diversifying the previously dominant Euro-American model\, as seen in prominent venues such as Venice and Sharjah &ndash\; \; Footprint \;39 invites contributors to explore the following ques tions: How can exhibitions occur \;beyond \;established s ystems\, methods and institutions? What new materialities and methodologie s do exhibitions inspire? In what ways can exhibitions become displays of discursivity to debate and adjust our worlds? How might unrecorded histori cal experiments be brought into the present? What new perspectives do exhi bitions offer on unconventional archives? How can curatorship from the &ls quo\;periphery&rsquo\; itself redefine the field? How can we utilise the u nique agency of curatorial studies in architectural education? What new ro les are emerging for curators in understudied territories and geographies toward a global discourse and inclusive scholarship? Finally\, as exhibiti ons shift from being alternative to increasingly central &ndash\; yet stil l arguably radical &ndash\; practices\, how might curatorial acts serve as a fulcrum to address contemporary crises and conflicts? Contributions fro m underrepresented scholars and researchers working on the thresholds of a rchitectural history and theory and its allied disciplines are particularl y welcome.

Authors of \;full articles \;(6000&ndash\;8000 wo rds including endnotes) can submit their contributions \;via Footprint&rsquo\;s online platform  \;before \;1 August 2025\, with all submissions undergoing double -blind peer-review.

Review articles and visual essays (unpublished e xhibition proposals are also welcome) \;(2000&ndash\;4000 words includ ing endnotes) will be selected by editors based on a 500-word summary  \;emailed to the editors& nbsp\;before \;1 August 2025.

Authors should in clude a \;100-word bio \;with their submissions and secure permiss ion to use any images or copyrighted materials.

For more information \, please consult Footprint&rsquo\;s Author Guidelines at: \;https://journals.open.tudelft.nl/footprint/about/submissions

Correspondence should be directed to editors Esin Kö\;mez Dağlıoğlu a nd Esra Kahveci at \;edit ors.footprint@gmail.com.

Footprint \;39 is schedule d for publication in the autumn of 2026.

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