This session draws attention to the role of filmic material as a source of knowledge in architecture history, as a complement to morewell-known sources such as drawings, plans, models and photos. Films in architecture collections roughly find themselves at two places: some on the library shelves, others stored in the archives. The former are VHS tapes and DVDs that were professionallyproduced, commercialized and distributed, the latter arrived as part of bequests, often somewhat hidden among other items. The second category is very diverse, but there is little knowledge about these films. They range from filmed interviews, recordings made on construction sites, at inaugurations or congresses, to copies of documentaries that were shown on television or in exhibitions, promotion films or private recordings made by architects in their practice or on a trip. Some were professionally edited,others consist of raw material or try-outs. Some were used for research or teaching and had a clear target group, others started to lead their own life for an audience that the makers weren’t initially aware of.

What do the films in architecture archivesconsist of? In which condition do they find themselves? What do we know of their content? Can they be visualized? What kind of stories do they tell us? Which facets of architecture history do they reveal?

This session is intended, first, as a state of the art of historic films in architecture archives as well as past and present initiatives to document, conserve and disclose them, and second, as an exploration of possible partnerships and collaborations. For architecture archives, filmic material represents quite a challenge since the expertise and equipment to restore, conserve and digitalize films is mostly wanting, contrary to film archives. Yet on the other hand, architecture films also challenge film archives, as those documents do not necessarily have cinematographic value following the criteria of film historians. Stimulated by demands of researchers and new opportunities provided by digitalization, a number of projects were recently initiated in architecture archives to call attention to film. Thissession represents an occasion to look back and evaluate, but also and most of all, to discuss what kind of future partnerships could be envisaged between architecture and audio-visual archives or film museums (for issues of conservation, restoration, digitalization) and/or between architecture museums and universities (in terms of research).

We explicitly call for entries from various disciplines, ranging from architecture history to museology, film restoration and media studies, etc. Topics can include,but are not limited to following questions: How does filmic material enter architecture archives? Is there an active acquisition policy ora history in terms of film collection? How are films subsequently treated?How do they relate to other items in thecollection? What did recent initiatives reveal in terms of conservation, registration/documentation and disclosure? What was the role and importance of films in the practice of individual architects and how can they contribute to our understanding of architecture history, as research material or items to be displayed in exhibitions?

Abstracts should be sent tosession chairs:
Véronique Booneand Mélanie Van der Hoornveronique.boone@icloud.com m.vanderhoorn@gratwanderung.nl

Please also copy toCorinne Beliercbelier@citechaillot.fr

In September 2019, at its twenty-fifth general assembly, the International Council ofMuseums(ICOM) put forward an alternative definition of museums as“democratizing, inclusive and polyphonic spaces for critical dialogue aboutthe pasts and the futures” whose goal is to contribute to “human dignity andsocial justice, global equality and planetary wellbeing.” This description wasmeant to revise the organization’s current definition, last updated in 2007,which states that a museum is a “non-profit, permanent institution in theservice of society” that fulfills its mission by acquiring, conserving,researching, communicating, and exhibiting.After a long and divisive debate, the general assembly decided to postpone the vote.What was a worthwhile definition to some was too political for others, and didn’treadily address the traditional functionsof a museum. However, amid all thecontroversy surrounding the new definition and the process that led to itsformulation, the vote has brought new attention to the debate around the roleof museums within our rapidly evolving social and political landscapes. Asdigital tools and social media transform relationshipswith the public andgenerate mechanisms for real-time feedback, museums are being called to account.They’re also being asked to become more responsive to change and more transparent in their thinking and processes—to make themselves activeparticipants in the radical transformations that are happening within and aroundthem.In response to these concerns, Anne Pasternak, director and Barbara Vogelstein,chair of the board of trustees at the Brooklyn Museum, wrote an open letterentitled“A Call for Cultural Courage.” She noted, “At this time of social unrest, people aroundthe globe are using protest to call upon their museums to do better” by“understanding that the stories we tell matter,” byshining a spotlight on “culturalhistories that have long beensuppressed,” by “challenging the historical insularity ofmuseums,” and by making them “accessible to all.” For Pasternak, the future ofmuseums is full of possibility and potential and “can amend history.”This panel invitescase studies that address andgive examples of programs,exhibitions, research, collecting strategies, and approaches to archiving architectureand design within museums/ arts organizations that engage meaningfully withissues of access, equity, and inclusion; that offer alternative narratives andperspectives; that open up conversations and networks; and are broadening theconversation and scholarship, challenging histories, and ultimately questioning andreconsidering the status quo, especially in relation to architecture and design asideological tools that have the potential to shape and expand understandings of theworld.Abstracts should be sent tosession chair: Zoe Ryan, Chicago Art Institutezryan@artic.eduPlease also copy toRebecca Bailey Rebecca.bailey@hes.scot

Lorem ipsum dolor sit amet, consetetur sadipscing elitr, sed diam nonumy eirmod tempor invidunt ut labore et dolore magna aliquyam erat, sed diam voluptua. At vero eos et accusam et justo duo dolores et ea rebum. Stet clita kasd gubergren, no sea takimata sanctus est Lorem ipsum dolor sit amet. Lorem ipsum dolor sit amet, consetetur sadipscing elitr, sed diam nonumy eirmod tempor invidunt ut labore et dolore magna aliquyam erat, sed diam voluptua. At vero eos et accusam et justo duo dolores et ea rebum. Stet clita kasd gubergren, no sea takimata sanctus est Lorem ipsum dolor sit amet.