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Abstracts for session presentations should define the subject and summarize the argument to be made in the presented paper.
The content of that paper should be the product of well-documented original research that is primarily analytical and interpretive rather than descriptive.
We are interested in the different channels through which knowledge of “Eastern” architecture was obtained, communicated and conceptualized (travelogues, diaries, engravings).
From the early 18th century onwards the Grand Tour became accessible to an ever larger group of travellers.
Each discussant will have 10 minutes to present a position.
What have been the lived experiences of these architectures of creativity?
How have such architectures been represented in the arts, particularly in film and television? And how have anti-architectural discourses figured in the understanding of architecture and creativity?
(for example, around MIT’s Building 20, the legendary precursor to so much ‘creative’ space). Examples might include the cabinets, bottege and studioli that appear repeatedly in Renaissance painting; art school design from the nineteenth century to the present day; the Bauhaus and other modernist experiments in designing creative space; the re-use of industrial buildings for creative purposes; the new designs for creativity commissioned by Apple and other technology companies.
We need to reference the place of interior design too, for example the manifestoes for the creative office produced by design agencies like Herman Miller.