BEGIN:VCALENDAR VERSION:2.0 METHOD:PUBLISH PRODID:-//Telerik Inc.//Sitefinity CMS 13.3//EN BEGIN:VEVENT DESCRIPTION:Histories of Postwar Architecture journal calls for submissions for Issue 17/2025.Balkrishna Vithaldas Doshi (1927-2023) was an Indian ar chitect\, urban planner\, and academic. Founder\, director\, and designer of the School of Architecture of Ahmedabad (now CEPT - Centre for Environm ental Planning and Technology in Ahmedabad). As the first Indian architect to receive the Pritzker Prize in 2018\, his projects sought to combine mo dernist experience with tradition\, promoting a sustainable architecture t hat is sensitive to local materials and rooted in the social and cultural context of India through an innovative language.Involved by Le Corbusier a nd Louis Kahn in the projects in Ahmedabad\, Doshi designed landmark works in contemporary architectural history\, addressing urban design across va rious scales. Among the many projects carried out since the 1950s\, paradi gmatic examples include the research lines developed for Sangath\, his stu dio in Ahmedabad\, the Aranya Low-Cost Housing settlement in Indore\, and the Indian Institute of Management campus (IIM) in Bangalore.By examining his theoretical contributions &mdash\; where Doshi&rsquo\;s philosophy ten ds to merge rather than distinguish between artistic and architectural dis ciplines &mdash\; this Call for Paper aims to delve deeper into the figure of one of the foremost masters of contemporary Indian architecture\, with the goal of identifying new research perspectives. His projects\, writing s\, drawings\, and paintings\, as well as the interpretation of his though t through his completed works\, represent important references that pave t he way for further studies and research\, also in light of their influence on contemporary Indian and international architecture.Doshi considered ar chitecture as a means to improve the quality of life and stated that each project should serve as a bridge between the past\, present\, and future. Deeply connected with Hindu culture\, an evolutionary principle appears to link his architectural and artistic production\, where symbolic imaginati on and dwelling practices find new combinations through a natural expressi ve synthesis.In 1987\, Giancarlo De Carlo entrusted the curatorship of iss ue no. 38 of the magazine &ldquo\;spazio e società\;&rdquo\;\, which he founded and directed\, to the Indian architect Balkrishna V. Doshi. De Carlo&rsquo\;s invitation gave Doshi the opportunity to establish a sort of observatory dedicated to the study of Indian cities and architecture\, aimed at analyzing cultural trends and new perspectives. The collaboration with other architects\, scholars\, and academics invited to contribute sp ecific pieces to this thematic issue focused on India (as come Kulbhushan Jain\, Dinesh Meetha\, Meera Metha\, Vikram Bhatt\, Peter Scriver and othe rs)\, allowed Doshi to engage with various aspects characterizing his coun try in the 1980s and\, through this experience\, to develop a greater awar eness of the state of the art.He felt the need to focus on Indian architec ture\, examining both the characteristics of its tradition and the more sp ecifically technical and experimental trends useful for defining democrati c urban and architectural models accessible to everyone. Among the objecti ves of his program\, the analysis of India&rsquo\;s rapidly rising and com plex society\, which demanded new models of expression\, played a central role.In Doshi&rsquo\;s thinking\, architecture &mdash\; considered since a ncient times a privileged art among other arts &mdash\; was one of the mai n tools through which to influence the country&rsquo\;s growth prospects f rom a cultural\, political\, and economic perspective. While reference to Indian architectural tradition served as the foundational principle for de veloping autonomous design solutions to be tested even at the urban scale\ , the legacy of the modernist movement still represented a valuable refere nce point for an evolutionary exploration of the relationship between form \, structure\, and material. A spirit of plurality thus permeated the arch itectural debate in India during the 1980s\, also reflecting for him a cer tain sense of disorientation regarding the future of architecture and the city.As can be inferred from his words\, his involvement in the curatorshi p of the magazine was an important experience for him\, also contributing to his personal development. His appreciation for the contributions sent b y De Carlo and for the nature of the collaborators invited to write &mdash \; coming from fields other than architecture\, such as politics or art &m dash\; allowed him to build a dialogue between disciplines that were inter connected\, reaffirming his interest in a interdisciplinary and holistic v ision of architecture.&ldquo\;India indeed is an incredibly complex commun ity &mdash\; Doshi stated &mdash\; a real melting pot of variety of cultur es\, arts\, and ideas. From snow-capped mountains to tropical forests and arid deserts\, India is equally pluristic in its socio-cultural aspects. ( ...) From the point of view of built environment\, historically all its di versities have lent India a distinct character. Add to this the fact that my city itself boasts of four projects by Le Corbusier\, one by Louis Kahn and an un-built design by Frank Lloyd Wright. Thus the process of assimil ation in India is immediately revealed. (&hellip\;) Hence\, even today the understanding of traditional as well as contemporary practices of archite cture in India remains as much an enigma to most of us Indians as to a for eigner because of the apparent discord between life styles\, beliefs and s pace making devices.&rdquo\;Starting from Sangath in Ahmedabad &mdash\; Do shi&rsquo\;s studio and the headquarters of the Vastu-Shilpa Foundation &m dash\; becomes essential to understanding the foundational principle of a design theory that does not address the individual but rather the idea of community\, a shared theorethical and physical space\, a place where knowl edge can be renewed through a communion of intentions. In fact\, the term Sangath means &ldquo\;moving together through participation&rdquo\;. For t his reason\, the architectural complex is conceived as a place where activ ities related to the fields of arts and applied technologies find ways to express themselves\, pursuing a plural design vision based on dialogue and exchange.If\, as envisioned by Doshi\, Sangath is to be considered &ldquo \;an evolving school\, where one learns\, unlearns\, and relearns again&rd quo\; it is significant to understand its architecture as a process of mak ing &mdash\; where design choices can evolve during construction and throu ghout the lifespan of the works themselves. Whether dealing with housing\, public buildings or urban developments\, his projects do not conclude wit h realization or planning\; rather\, they are conceived as open-ended work s in which the contributions of the inhabitants\, together with the spirit of the time\, align with the architect&rsquo\;s original vision.The spiri t of continuous and ever-evolving research\, driven by a fertile dialogue between disciplines\, led Doshi to experiment with a vision of architectur e as a shared intellectual and cultural process. With these premises\, he had responded to De Carlo&rsquo\;s invitation. The Call for Papers finds a n important precedent in the idea of fostering a collaborative effort aime d at exploring themes that deserve further investigation\, offering new fr ontiers for research through archival materials.We therefore suggest the f ollowing key themes\, which could provide new opportunities for exploratio n:&bull\; Architecture as a Process of Thinking&bull\; Tradition and Moder nity&bull\; Architecture and Community&bull\; Sustainable and Contextual D esign&bull\; Sustainability and Affordability&bull\; Participatory Design& bull\; Flexibility and Adaptability&bull\; Art and Architecture&bull\; Por osity and paradox&bull\; Architecture and storytellingPapers should be sub mitted in English using \;https://hpa.unibo.it/user/register.The guide lines for paper submission are available at \;https://hpa.unibo.it/abo ut/submissions#authorGuidelines.Please\, fill in the author&rsquo\;s profi le with all the information required as:&bull\; Applicant&rsquo\;s name&bu ll\; Professional affiliation&bull\; Title of paper&bull\; Abstract (max 2 \,000 characters)&bull\; 5 keywords&bull\; A brief CV (max 2\,000 characte rs)Please submit the proposal in the form of MS Word (length between 15\,0 00 and 35\,000 characters with up to six images). The submitted paper must be anonymous. Please delete from the text and file&rsquo\;s properties al l information about name\, administrator etc. Papers should clearly define the argument in relation to the available literature and indicate the sou rces which the paper is based on. All papers received will go through a pr ocess of double-blind peer review before publication.HPA also looks for co ntributions for the review section.https://hpa.unibo.it/about/editorialPol icies#sectionPolicies \;Authors must submit directly full papers by:&n bsp\;September 30\, 2025Accepted authors will be notified by: \;Octobe r 31\, 2025Publication is expected to be in: \;December 2025To address ed questions to the editors: \;redazione.hpa@unibo.it DTEND;VALUE=DATE:20251001 DTSTAMP:20250313T125613Z DTSTART;VALUE=DATE:20250131 LOCATION: SEQUENCE:0 SUMMARY:Call for Papers: MOVING TOGETHER THROUGH PARTICIPATION Balkrishna V ithaldas Doshi | Architecture as Evolving Storytelling UID:RFCALITEM638774673739042467 X-ALT-DESC;FMTTYPE=text/html:

Histories of Postwar Architecture jour nal calls for submissions for Issue 17/2025.

Balkrishna Vithaldas Doshi (1927-2023) was an Indian archite ct\, urban planner\, and academic. Founder\, director\, and designer of th e School of Architecture of Ahmedabad (now CEPT - Centre for Environmental Planning and Technology in Ahmedabad). As the first Indian architect to r eceive the Pritzker Prize in 2018\, his projects sought to combine moderni st experience with tradition\, promoting a sustainable architecture that i s sensitive to local materials and rooted in the social and cultural conte xt of India through an innovative language.

Involved b y Le Corbusier and Louis Kahn in the projects in Ahmedabad\, Doshi designe d landmark works in contemporary architectural history\, addressing urban design across various scales. Among the many projects carried out since th e 1950s\, paradigmatic examples include the research lines developed for S angath\, his studio in Ahmedabad\, the Aranya Low-Cost Housing settlement in Indore\, and the Indian Institute of Management campus (IIM) in Bangalo re.

By examining his theoretical contributions &mdash \; where Doshi&rsquo\;s philosophy tends to merge rather than distinguish between artistic and architectural disciplines &mdash\; this Call for Pape r aims to delve deeper into the figure of one of the foremost masters of c ontemporary Indian architecture\, with the goal of identifying new researc h perspectives. His projects\, writings\, drawings\, and paintings\, as we ll as the interpretation of his thought through his completed works\, repr esent important references that pave the way for further studies and resea rch\, also in light of their influence on contemporary Indian and internat ional architecture.

Doshi considered archite cture as a means to improve the quality of life and stated that each proje ct should serve as a bridge between the past\, present\, and future. Deepl y connected with Hindu culture\, an evolutionary principle appears to link his architectural and artistic production\, where symbolic imagination an d dwelling practices find new combinations through a natural expressive sy nthesis.

In 1987\, Giancarlo De Carlo entrusted the curatorship of issue no. 38 of the magazine &ldquo\;s pazio e società\;&rdquo\;\, which he founded and directed\, to the I ndian architect Balkrishna V. Doshi. De Carlo&rsquo\;s invitation gave Dos hi the opportunity to establish a sort of observatory dedicated to the stu dy of Indian cities and architecture\, aimed at analyzing cultural trends and new perspectives. The collaboration with other architects\, scholars\, and academics invited to contribute specific pieces to this thematic issu e focused on India (as come Kulbhushan Jain\, Dinesh Meetha\, Meera Metha\ , Vikram Bhatt\, Peter Scriver and others)\, allowed Doshi to engage with various aspects characterizing his country in the 1980s and\, through this experience\, to develop a greater awareness of the state of the art.

He felt the need to focus on Indian architecture\, exa mining both the characteristics of its tradition and the more specifically technical and experimental trends useful for defining democratic urban an d architectural models accessible to everyone. Among the objectives of his program\, the analysis of India&rsquo\;s rapidly rising and complex socie ty\, which demanded new models of expression\, played a central role.

< p>In Doshi&rsquo\;s thinking\, archit ecture &mdash\; considered since ancient times a privileged art among othe r arts &mdash\; was one of the main tools through which to influence the c ountry&rsquo\;s growth prospects from a cultural\, political\, and economi c perspective. While reference to Indian architectural tradition served as the foundational principle for developing autonomous design solutions to be tested even at the urban scale\, the legacy of the modernist movement s till represented a valuable reference point for an evolutionary exploratio n of the relationship between form\, structure\, and material. A spirit of plurality thus permeated the architectural debate in India during the 198 0s\, also reflecting for him a certain sense of disorientation regarding t he future of architecture and the city.

As can be inferred from his words\, his involve ment in the curatorship of the magazine was an important experience for hi m\, also contributing to his personal development. His appreciation for th e contributions sent by De Carlo and for the nature of the collaborators i nvited to write &mdash\; coming from fields other than architecture\, such as politics or art &mdash\; allowed him to build a dialogue between disci plines that were interconnected\, reaffirming his interest in a interdisci plinary and holistic vision of architecture.

&ldquo\;I ndia indeed is an incredibly complex community &mdash\; Doshi stated &mdas h\; a real melting pot of variety of cultures\, arts\, and ideas. From sno w-capped mountains to tropical forests and arid deserts\, India is equally pluristic in its socio-cultural aspects. (...) From the point of view of built environment\, historically all its diversities have lent India a dis tinct character. Add to this the fact that my city itself boasts of four p rojects by Le Corbusier\, one by Louis Kahn and an un-built design by Fran k Lloyd Wright. Thus the process of assimilation in India is immediately r evealed. (&hellip\;) Hence\, even today the understanding of traditional a s well as contemporary practices of architecture in India remains as much an enigma to most of us Indians as to a foreigner because of the apparent discord between life styles\, beliefs and space making devices.&rdquo\;

Starting from Sangath in Ahmedabad &mdash\; Doshi&rs quo\;s studio and the headquarters of the Vastu-Shilpa Foundation &mdash\; becomes essential to understanding the foundational principle of a design theory that does not address the individual but rather the idea of commun ity\, a shared theorethical and physical space\, a place where knowledge c an be renewed through a communion of intentions. In fact\, the term Sangat h means &ldquo\;moving together through participation&rdquo\;. For this re ason\, the architectural complex is conceived as a place where activities related to the fields of arts and applied technologies find ways to expres s themselves\, pursuing a plural design vision based on dialogue and excha nge.

If\, as envisioned by Dosh i\, Sangath is to be considered &ldquo\;an evolving school\, where one lea rns\, unlearns\, and relearns again&rdquo\; it is significant to understan d its architecture as a process of making &mdash\; where design choices ca n evolve during construction and throughout the lifespan of the works them selves. Whether dealing with housing\, public buildings or urban developme nts\, his projects do not conclude with realization or planning\; rather\, they are conceived as open-ended works in which the contributions of the inhabitants\, together with the spirit of the time\, align with the archit ect&rsquo\;s original vision.

The spirit of continuous and ever-evolving research\, driven by a fertile dialogue between discipl ines\, led Doshi to experiment with a vision of architecture as a shared i ntellectual and cultural process. With these premises\, he had responded t o De Carlo&rsquo\;s invitation. The Call for Papers finds an important pre cedent in the idea of fostering a collaborative effort aimed at exploring themes that deserve further investigation\, offering new frontiers for res earch through archival materials.

We therefore sugges t the following key themes\, which could provide new opportunities for exp loration:

&bull\; Architecture as a Process of Thinking
&bull\; Tradition and Modernity
&bull\; Archi tecture and Community
&bull\; Sustainable and Contextual Design< /div>
&bull\; Sustainability and Affordability
&bull\; Parti cipatory Design
&bull\; Flexibility and Adaptability
& bull\; Art and Architecture
&bull\; Porosity and paradox
&bull\; Architecture and storytelling

Papers should be submitted in English using \;.

The guidelines for paper submission are available at&nbs p\;.

Please\, fill in the author&rsquo\;s profile wi th all the information required as:

&bul l\; Applicant&rsquo\;s name
&bull\; Professional affiliation
&bull\; Title of paper
&bull\; Abstract (max 2\,000 chara cters)
&bull\; 5 keywords
&bull\; A brief CV (max 2\,0 00 characters)


Please submit t he proposal in the form of MS Word (length between 15\,000 and 35\,000 cha racters with up to six images). The submitted paper must be anonymous. Ple ase delete from the text and file&rsquo\;s properties all information abou t name\, administrator etc. Papers should clearly define the argument in r elation to the available literature and indicate the sources which the pap er is based on. All papers received will go through a process of double-bl ind peer review before publication.

HPA also lo oks for contributions for the review section.
 \;

< div>
Authors must submit directly full papers by: \;September 30\, 2025
Ac cepted authors will be notified by: \;October 31\, 2025
Publication is expected to be in:& nbsp\;December 2025

To addressed questio ns to the editors: \;redaz ione.hpa@unibo.it
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