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The recent opening to the public of large-scale National Socialist installations in Germany – like the Denkort Bunker "Valentin" in Bremen-Farge – has prompted questions on how to address the legacy of Nazi advances in science and technology in musealized spaces, and, more generally, how to curate inconvenient military history. To tackle these questions, the issue of affect is crucial. Curation must be able to confront articulations of right-wing extremist "reactionary" affect in and beyond the museum setting. This has been a challenge for Dresden's newly redesigned Militärhistorisches Museum der Bundeswehr, whose anti-militaristic message is being drowned out by right-wing xenophobic demonstrations in Dresden's streets. This paper seeks to counter current curatorial strategies that displace and suppress affect. By considering affect's productive potential without ignoring the record of Nazi manipulations of affect, it proposes the concept of an 'upstander' museum and delineates a new methodology for rethinking affect in curatorial settings.

GAM 02 ist dem Thema "Design Science in Architecture" gewidmet. Forschung und Wissenschaftlichkeit in der Architektur werden beleuchtet und hinterfragt. Der Ansatz versteht sich interdisziplinär und integriert kulturelle, räumliche, technische und informationswissenschaftliche Aspekte. "Design Science ist die effiziente Anwendung von wissenschaftlichen Prinzipien zur bewussten Gestaltung unseres gesamten Umfeldes." (Buckminster Fuller) TOC:Aus dem Inhalt: Autoren und Titel der Beiträge sind noch nicht bekannt, da bei Redaktionsschluss die Beiträge von GAM 02 noch nicht festgestanden sind

Author's NoteThis article is based on remarks I gave at the 2000 meeting of the Southern Finance Association (SFA). I was extraordinarily flattered to be named Distinguished Scholar for 2000 by the SFA; I would like to thank the members and officers of the association for this award. As an SFA board member, I participated in establishing the Distinguished Scholar program. The original idea was to broaden participation in SFA by more of the profession's senior researchers. Last year I believe we chose the ideal person for the inaugural award, Professor Richard Roll of UCLA. But I must admit that I felt somewhat awkward in accepting the award this year. Although I certainly appreciate having my work recognized, I have attended SFA meetings regularly over the last quarter century. They afford a wonderful opportunity to renew valued friendships (some going back to graduate school) and revisit my southern roots. So this award is quite special for me, even if I do not consider myself its ideal recipient.

This informative guide is for an architecture firm of any size to effectively develop itself, and then market and promote its work, based on its expertise and value to clients. The author guides the reader to address issues of firm identity, including an understanding of how to create the market positioning desired, using a series of hierarchical steps and decisions. The reader will learn from approximately twelve case studies of firm positioning that will be written from original research to provide helpful reinforcement of material.

architecture after disaster -- what should governments do? -- urban risk and recovery -- environmental resilience -- prevention possible?

"Despite increasing popular attention to issues of diversity and under-representation in architecture, power and control within the profession remain in the hands of white men. Of all the creative forms, architecture remains the least accessible to the inhabitants of deprived urban neighborhoods. The absence of a significant minority presence in the field reinforces the disconnect between designers and users. But things are changing. Hip-Hop Architecture explores the production of spaces, buildings, and urban environments that embody the creative energies in hip-hop. It is a newly expanding design philosophy which sees architecture as a distinct part of hip hop's cultural expression, and which uses hip-hop as a lens through which to provoke new architectural ideas. The book begins by outlining an architectural manifesto - the voice of the underrepresented, marginalized, and voiceless within the discipline, practice, and profession. Subsequent chapters explain what constitutes hip hop architecture today, exploring its historical antecedents and its theory, and placing it in a wider context both within architecture and within Black and African American movements. Throughout, the work is illustrated with inspirational case studies of architectural projects and creative practices, and interspersed with interludes and interviews with key architects, designers, and academics in the field. This is a vital and provocative work that can appeal to architects, students, designers, theorists and anyone interested in a fresh view of architecture, race and culture"--

Nondenominational Christianity is an increasingly significant phenomenon within American Protestantism. Its exponential prevalence in the US and globally during the second half of the 20th century is a byproduct of occurrences such as transformations in the religious landscape––most notably the rise of Evangelicalism––neoliberal economic policy, and the sociopolitical and cultural aftermath of the 1960s. The nondenominational church is one that, by definition, is separate from specified denominations, creeds, and traditions within Christendom, untethered to the bureaucracies of other religious orders. This essay posits a theory of nondenominational aesthetics to better understand the existence of these spaces and their impact, asking, how can this proliferation be analyzed through a focus on architecture, aesthetics, and long standing discourse regarding the relationship between the built environment and society? Borrowing from historical analyses of domestic architecture and American suburbanism, this paper comparatively investigates nondenominational aesthetics via suburban frameworks for design and social order. Through this nondenominationalism and suburbia are both categorized as operations in housing; manufacturers of dwellings. The model home and the McMansion parallel the church plant and the megachurch as subjective dwellings that seek to construct and consecrate sacred space. As nondenominationalism is seen as a housing project, so too is suburbanism analyzed as religion. Informed by religious studies scholarship seeking to understand religion in the context of American popular culture, this paper approaches nondenominationalism and suburbanism as analogous religious phenomena that are consequential in relation to issues of race, class, gender, sexual orientation, and political struggle. A complex network exists between suburb and city; church and Christendom; home and work; individual and community. As these religious phenomena pervade social landscapes, what can be learned from their dwellings?

This paper provides new direction for geographic scholarship on architecture by focusing upon architectural projects that go well beyond designing and producing material objects. Recent work on practising architectures by social and cultural geographers has examined the multiple processes of human and non-human actors that cohere and congeal to produce buildings. Responding to concerns that geographers are failing to work closely with architects, I introduce ideas of spatial agency to examine the practices of architects working beyond buildings. Arguing that the profession has always been under threat, I outline why socially progressive architects are rejecting claims as expert technical problem-solvers or artistic form-givers by instead initiating and contributing towards explicitly spatial projects prioritizing social and economic objectives. By calling for creative engagement with such projects, I set forth an agenda for a politically progressive geography of architecture.