BEGIN:VCALENDAR VERSION:2.0 METHOD:PUBLISH PRODID:-//Telerik Inc.//Sitefinity CMS 13.3//EN BEGIN:VEVENT DESCRIPTION:Footprint\, the Delft Architecture Theory Journal invites contr ibutions for Issue 39: "The Exhibition Effect and Beyond." Submissions are due by August 1\, 2025.Architectural exhibitions\, despite their transien t nature\, have a profound influence in articulating movements\, sparking central discussions and marking traces in the \;field. They act as act ive agents that represent\, culminate\, disseminate or project prevailing paradigms in architectural discourse at specific moments\, as demonstrated by the 1927 Deutscher Werkbund architecture exhibition\, the Strada Novis sima at the 1980 Venice Architecture Biennale\, and the 1988 Deconstructiv ist Architecture exhibition at MoMA. \;Moreover\, like architectural c ompetitions\, they serve as contact zones (see \;Footprint\, \;iss ue 26)\, fostering \;confrontation\, negotiation and exchange among di verse 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 commodificat ion pressures that often influence art exhibitions\, as their exhibitable objects rarely become collectible items. This relative autonomy has preser ved their critical edge and has driven the rise of architectural exhibitio ns. Once a means for showcasing architectural work or scholarly expertise\ , architectural exhibitions have\, in recent decades\, evolved into an ind ependent field of study with distinct procedures\, methodologies\, histori ographies and effects. As a medium of its own\, the exhibition both produc es architecture as an exhibitable object and advances knowledge production \, offering a lens to explore how research generates &ndash\; rather than merely uncovers &ndash\; its subjects. Today\, these curatorial practices have converged\, with architects and historians taking on the role of cura tors. Alongside the proliferation of biennials and research exhibitions\, the rise of curatorial programmes within architecture departments across c ontinents situates this historically radical force as a prominent agent of critical inquiry.As a result\, architectural exhibitions have gained furt her agency with a significant impact\, producing what we refer to as the & lsquo\;exhibition effect&rsquo\;. This term\, playing with the terminology of the &lsquo\;museum effect&rsquo\;\, which elevates the perceived value and significance of objects simply by placing them in a museum context\, and the &lsquo\;Bilbao effect&rsquo\;\, which refers to the transformative impact of a landmark architectural project on a city&rsquo\;s economy\, t ourism and global image\, refers to the current ubiquitous disciplinary an d cultural impact of exhibitions.Recent journal issues including \;Log  \;no. 20 (2010)\, \;OASE \;no. 88 (2012)\, and \;Architec tural Theory Review \;23:1 (2019)\, discuss exhibition as a medium for architecture and knowledge production\, an environment\, a tool for repre senting and displaying architecture\, and a collective spatial experience. Building on this growing body of contemporary literature\, \;Footprin t \;39 aims to probe the &lsquo\;exhibition effect&rsquo\; and the unc harted territories beyond with audacity. By re-evaluating definitions of t he exhibition as an event\, a common ground\, an activist agency\, a power tool for publicising and legitimising architecture\, and a means of colle cting and revealing archives\, the issue seeks to critically address the s tatus of institutions involved in collecting and displaying\, the privileg e of visibility essential for exhibiting\, the comforts and discomforts as sociated with possessing or lacking recorded archives\, and the dynamics o f curatorial networks.In this pivotal moment\, as what was once considered the periphery shifts to the centre of global exhibitions &ndash\; challen ging and diversifying the previously dominant Euro-American model\, as see n in prominent venues such as Venice and Sharjah &ndash\; \;Footprint& nbsp\;39 invites contributors to explore the following questions: How can exhibitions occur \;beyond \;established systems\, methods and ins titutions? What new materialities and methodologies do exhibitions inspire ? In what ways can exhibitions become displays of discursivity to debate a nd adjust our worlds? How might unrecorded historical experiments be broug ht into the present? What new perspectives do exhibitions offer on unconve ntional archives? How can curatorship from the &lsquo\;periphery&rsquo\; i tself redefine the field? How can we utilise the unique agency of curatori al studies in architectural education? What new roles are emerging for cur ators in understudied territories and geographies toward a global discours e and inclusive scholarship? Finally\, as exhibitions shift from being alt ernative to increasingly central &ndash\; yet still arguably radical &ndas h\; practices\, how might curatorial acts serve as a fulcrum to address co ntemporary crises and conflicts? Contributions from underrepresented schol ars and researchers working on the thresholds of architectural history and theory and its allied disciplines are particularly welcome.Authors of&nbs p\;full articles \;(6000&ndash\;8000 words including endnotes) can sub mit 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 exhibition pro posals are also welcome) \;(2000&ndash\;4000 words including endnotes) will be selected by editors based on a 500-word summary \;emailed to the editors \;before \;1 August 2025.Authors should include a  \;100-word bio \;with their submissions and secure permission to use a ny images or copyrighted materials.For more information\, please consult F ootprint&rsquo\;s Author Guidelines at: \;https://journals.open.tudelf t.nl/footprint/about/submissionsCorrespondence should be directed to edito rs Esin Kö\;mez Dağlıoğlu and Esra Kahveci at \;editors.footprint@ gmail.com.Footprint \;39 is scheduled for publication in the autumn of 2026. DTEND;VALUE=DATE:20250802 DTSTAMP:20250312T231228Z DTSTART;VALUE=DATE:20250307 LOCATION: SEQUENCE:0 SUMMARY:Call for Papers: Footprint 39: The Exhibition Effect and Beyond UID:RFCALITEM638774179488614352 X-ALT-DESC;FMTTYPE=text/html:

Footprint\, the Delft Architecture Theory Journal invites contributions for Issue 39: "The Exhibition Effect and Beyond." Submissions are due by August 1\, 2025.

Archit ectural exhibitions\, despite their transient nature\, have a profound inf luence in articulating movements\, sparking central discussions and markin g traces in the \;field. They act as active agents that represent\, cu lminate\, disseminate or project prevailing paradigms in architectural dis course at specific moments\, as demonstrated by the 1927 Deutscher Werkbun d architecture exhibition\, the Strada Novissima at the 1980 Venice Archit ecture Biennale\, and the 1988 Deconstructivist Architecture exhibition at MoMA. \;Moreover\, like architectural competitions\, they serve as co ntact zones (see \;Footprint\, \;issue 26)\, fostering&nb sp\;confrontation\, negotiation and exchange among diverse actors in archi tecture &ndash\; a field that is\, by nature\, multi-authorial.

Whil e architectural exhibitions may serve promotional purposes\, they are larg ely insulated from the market-driven stakes and commodification pressures that often influence art exhibitions\, as their exhibitable objects rarely become collectible items. This relative autonomy has preserved their crit ical edge and has driven the rise of architectural exhibitions. Once a mea ns for showcasing architectural work or scholarly expertise\, architectura l exhibitions have\, in recent decades\, evolved into an independent field of study with distinct procedures\, methodologies\, historiographies and effects. As a medium of its own\, the exhibition both produces architectur e as an exhibitable object and advances knowledge production\, offering a lens to explore how research generates &ndash\; rather than merely uncover s &ndash\; its subjects. Today\, these curatorial practices have converged \, with architects and historians taking on the role of curators. Alongsid e the proliferation of biennials and research exhibitions\, the rise of cu ratorial programmes within architecture departments across continents situ ates this historically radical force as a prominent agent of critical inqu iry.

As a result\, architectural exhibitions have gained further age ncy with a significant impact\, producing what we refer to as the &lsquo\; exhibition effect&rsquo\;. This term\, playing with the terminology of the &lsquo\;museum effect&rsquo\;\, which elevates the perceived value and si gnificance of objects simply by placing them in a museum context\, and the &lsquo\;Bilbao effect&rsquo\;\, which refers to the transformative impact of a landmark architectural project on a city&rsquo\;s economy\, tourism and global image\, refers to the current ubiquitous disciplinary and cultu ral impact 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 env ironment\, a tool for representing and displaying architecture\, and a col lective spatial experience. Building on this growing body of contemporary literature\, \;Footprint \;39 aims to probe the &lsquo\;e xhibition effect&rsquo\; and the uncharted territories beyond with audacit y. By re-evaluating definitions of the exhibition as an event\, a common g round\, an activist agency\, a power tool for publicising and legitimising architecture\, and a means of collecting and revealing archives\, the iss ue seeks to critically address the status of institutions involved in coll ecting and displaying\, the privilege of visibility essential for exhibiti ng\, the comforts and discomforts associated with possessing or lacking re corded archives\, and the dynamics of curatorial networks.

In this p ivotal moment\, as what was once considered the periphery shifts to the ce ntre of global exhibitions &ndash\; challenging and diversifying the previ ously dominant Euro-American model\, as seen in prominent venues such as V enice and Sharjah &ndash\; \;Footprint \;39 invites contr ibutors to explore the following questions: How can exhibitions occur  \;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 \;ful l articles \;(6000&ndash\;8000 words including endnotes) can submit th eir contributions \;via Foot print&rsquo\;s online platform \;before \;1 August 2025\, w ith all submissions undergoing double-blind peer-review.

Review arti cles and visual essays (unpublished exhibition proposals are also welcome)  \;(2000&ndash\;4000 words including endnotes) will be selected by edi tors based on a 500-word summary \;emailed to the editors \;before \;1 August 2 025.

Authors should include a \;100-word bio \;with their submissions and secure permission to use any images or copyrighted materials.

For more information\, please consult Footprint&rsquo\;s Author Guidelines at: \;

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

Footpri nt \;39 is scheduled for publication in the autumn of 2026.

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