2016 Fitch Colloquium

2016 FITCH FITC F T H TC COLLO COLLOQUIUM LOQUIUM LO QUIUM 2016 FITCH COLLOQUIUM

Welcome and Introduction 9:30 – 10 am

At War 1 – 3 pm

Post-War 3:30 – 5:30 pm

Amale Andraos Dean, Columbia GSAPP

Julián Esteban-Chapapría Associate Professor, Universitat Politècnica de València

Nikolaus Hirsch Visiting Professor of Architecture, Columbia GSAPP

Jorge Otero-Pailos Professor and Director of Historic Preservation Columbia GSAPP

Zaki Aslan Director of ICCROM-ATHAR Regional Conservation Centre, United Arab Emirates

Mark Jarzombek Professor of History and Theory of Architecture, MIT

Pre-War 10 am – 12 pm

Laura Kurgan Associate Professor of Architecture, Columbia GSAPP

Tim Winter Research Chair of Cultural Heritage, Deakin University Laurie Rush Cultural Resources Manager and Archaeologist, United States Department of Defense Leila A. Amineddoleh Founding and Managing Partner at Amineddoleh & Associates Lucia Allais Assistant Professor of Architecture, Princeton University David Gissen Professor of Architecture, California College of the Arts Moderated by: Erica Avrami James Marston Fitch Assistant Professor of Historic Preservation, Columbia GSAPP Lunch 12 – 1 pm

Zainab Bahrani Edith Porada Professor of Art History and Archaeology, Columbia University Moderated by: William Reynolds Adjunct Assistant Professor of Historic Preservation, Columbia GSAPP Coffee Break 3 – 3:20 pm

Rodney Harrison Professor of Heritage Studies, University College London Azra Akšamija Associate Professor, MIT Clive van den Berg Artist and Managing Partner, Trace Moderated by: Rosalind C. Morris Professor of Anthropology, Columbia University

2016 FITCH COLLOQUIUM

PRESERVATION AND WAR

What are the moral limits to war? The destruction of heritage has, at least since the Enlightenment, been considered a threshold beyond which military action becomes unjust, even criminal. Centuries before modern preservation laws, it was military jurists like Emmerich de Vattel who helped establish the notion that governments at war had a legal duty to protect heritage – including that of their conquered enemies.

The regulation of modern warfare in many ways preceded and shaped that of modern preservation. Military codes of conduct, such as the pioneering 1863 US Lieber Code, became the basis and inspiration for national and international preservation laws. The experience of World War II, and the now famous work of the Monuments Men, was a powerful catalyst for the creation of preservation institutions during peacetime, from the National Trust of Historic Preservation to UNESCO. Their aim was not so much to abolish war, but rather to fight more just wars in the future, to correct the moral transgressions of the past. Preservation, in other words, is not conceptually outside of war, but very much embedded in it, where it can more effectively monitor, report on, influence and limit bellicose action.

Military thinking is second hand to preservation: we organize as one would an army, around notions of readiness for battle, defensibility of assets, planned campaigns, managing trauma, and reconstruction. To what degree, we may ask, is preservation thinkable outside of militarization, and its prewar – war – postwar continuum? What is the range of acceptable preservation actions and non-actions in the face of today’s wars, when spectacles are made of the dynamiting of monuments, and the killing of preservationists? The 2016 Fitch Colloquium brings together some of the world’s leading experts in the spirit of dialogue and common pursuit of answers to these urgent questions.

PRE-WAR

Sandbags, Perimeters, and the Humanization of War — Lucia Allais In 2015 the United Nations launched an initiative to make protection of cultural heritage at war “an imperative for humanity,” thus connecting two notions – heritage and humanity – that have belonged to separate realms of international law since the 1950s. Much can be learned about how to bridge this gap by reaching back before the bifurcation, to debates that raged in 1930s Washington and Geneva. Seeking to outlaw war altogether, advocates of “moral disarmament” refused to even discuss the legislation of cultural destruction.

But it was the movement for the “humanization of war” that eventually prevailed, arguing for the “material protection” of art and architecture. Studying this material turn reveals not only the emergence of new philosophical arguments for sparing monuments and saving lives, but also the development of whole new technical toolkit for translating architecture’s aesthetic value into spatial media as varied as bombing perimeters, painted emblems, and sandbag photography.

Legal Mechanism for Deterring Destruction — Leila A. Amineddoleh Destruction of heritage and monuments has occurred for millennia, with cultures even celebrating destructive acts through memorializing them in architectural structures. At the same time, leaders and military regimes use destruction as a form of propaganda and a tool of war, symbolizing power and degrading opposition. Laws have addressed destruction in attempts to avoid it during conflict. Surprisingly, the first military code of conduct to address art and charitable institutions was drafted in the US; the Lieber Code was penned during the American Civil War to prevent

damaging acts during conflict. During the succeeding centuries, other codes and conventions have addressed this topic. In addition, human rights doctrines aim to preserve heritage for groups around the world. And recently, the International Criminal Court in The Hague has charged a defendant for the intentional destruction of heritage, an example of ways in which international laws aspire to halt destruction and deter vandalism.

The Rights of Monuments — David Gissen Do monuments have international rights?

And if monuments have such rights how would we articulate these rights and from what perspective? This talk presents some of the theory and methodology behind a one-week workshop held at the Columbia University Program in Historic Preservation that examined these questions (among others) and that attempted to state the rights of monuments. The rights of monuments might be one of the critical and theoretical tools through which we can examine the preservation of heritage, particularly as it becomes entangled in contemporary forms of social and political violence.

spect, the challenges of educating military personnel, developing “no strike” lists and requiring cultural resources impact evaluation for overseas military operations seemed daunting. Now, those who care about the most valuable cultural assets world-wide must contend with their transformation into targets for destruction, used as a method for strategic communication of extreme ideology and demonstration of power. The complexity increases when opportunities for international preservation are sacrificed in favor of perceived political or institutional gain. Tragically, heritage at risk needs military protection now more than ever.

The Diplomatics of Preservation and Future Wars — Tim Winter

This presentation examines preservation and war through the lens of diplomacy, international relations, and geopolitics.

Drawing on a range of examples, the talk offers a global perspective to highlight the importance of understanding how postwar preservation can foster new forms of cooperation and conflict. Wars have shaped where and when preservation occurs in the world, what projects receive support and who undertakes them. Only Finding Common Ground for Preservation by turning to the themes of diplomacy vs Performance Destruction: Cultural and international relations can we underProperty Protection in Modern Conflict stand how such connections play out.

— Laurie Rush Pursuing the theme of pre-war, the talk looks to the future, and anticipates some NATO Allies and Partner Nations have dis- significant changes in the international covered the common ground where iden- landscape of preservation diplomacy over tification, respect for, and protection of the coming decades through the rise cultural property make sense for military of Non-Western actors. It will be seen that mission success. However, as genocidal the futures of the Middle East and East conflict evolves, meaningful efforts to Asia give us reason to be both optimistic protect monuments, collections, heritage and apprehensive. sites, sacred structures and other forms of cultural property must shift to engage in the sphere of performance destruction as a component of hybrid warfare. In retro-

AT WAR

Addressing Critical Measures to Preserve Cultural Heritage During Times of War in the Arab World — Zaki Aslan During periods of war, physical structures and administrative mechanisms in place to safeguard cultural heritage are often dismantled. Due to declining State authority, historic treasures are threatened by damage, looting, abandonment and neglect. Such detrimental conditions affecting cultural heritage are heightened and challenge preservation initiatives needed to administer critical first aid measures.

The preservation of cultural heritage during times of ongoing conflict may seem superfluous amidst heavy death tolls.

However, its use in post-conflict recovery is globally regarded as valuable assets that can be utilized for long-term sociocultural and economic development.

Lessons in cultural preservation during war exist, but cannot be applied to any conflict situation. Chaos and uncertainty amid the horrors of war make the planning of an all-purpose set of guidelines difficult. An effective response needs to accommodate the changing demands of armed conflict based on a holistic review of the situation and implementation of an effective response.

Destruction and Preservation as Aspects of Just War — Zainab Bahrani The concern with monument destruction in warfare is as old as the world’s earliest historical texts and monuments. This remarkable historical evidence comes from Iraq and Syria, where history is now in the process of being systematically obliterated. What is the aim of such destruction and what are the limits of preservation in war? This paper will address destruction and preservation as aspects

of war, and will introduce the Columbia University Mapping Mesopotamian Monuments project.

The Spanish Civil War and Cultural Heritage — Julián Esteban-Chapapría During the Spanish Civil War, July 1936 – April 1939, in which a group of rebel militarists and right-wing groups rose up against the government of the Republic, the damage to the cities and cultural heritage was serious.

After the start of the war both sides organized structures devoted to preserve the cultural heritage, although the lack of means prevented works of preservation and conservation to be carried out. One dramatic episode of the Spanish Civil War was the bombing by the rebel army of the Prado Museum, which forced the evacuation of its works of art to Valencia and Switzerland.

An issue was born among the victors after the war: the need to establish an official history. The goal was to legitimize what had been done, hide what was not in their interest, and misrepresent what should not even be ambiguous, the role and performance of the Republic, and the actions taken by the nationalists.

Conflict Urbanism: Aleppo — Laura Kurgan I will be presenting work in progress based on an open-source, interactive, data-rich map the Center for Spatial Research has created of Aleppo at the neighborhood scale. Users can navigate the city, with the aid of high resolution satellite imagery from before and during the current civil war, and explore geo-located data about urban damage. Since 2012, the people of Aleppo – one of the oldest continuously-inhabited cities in the world – have been exposed to catastrophic violence. Many

thousands have been injured, died, or fled.

Our project focuses on their city and what has been done to it and what might happen to it in the future. Our work has been done intentionally from a distance and explores methods and experiments with what can be seen from this point of view.

The work has benefited from an interdisciplinary seminar in Spring 2016, and a work by students and collaborators between GSAPP, the Arts and Sciences and beyond.

POST-WAR

Memory Matrix — Azra Akšamija We live in a time when technology can be used to document an erasure as it takes place and to restore much faster than ever before. Hardly any other historic site has generated more intense public debate about these two issues than Palmyra.

The impetus to defy Palmyra’s destruction notwithstanding, the questions of whether, when, and how to restore it remain controversial. These questions provide the conceptual basis for the Memory Matrix – a public space intervention referencing Palmyra’s Arch of Triumph – that counters the destruction of monuments with the creation of new ephemeral monuments that engage new fabrication technologies and transcultural collaborations. The Memory Matrix endorses the use of technology to foster solidarity and educate those who have been stripped of their home, culture, history, and identity. Preservation can also positively encourage human interdependence in the face of global problems that are affecting communities across borders, today and in the future.

Dresden’s Frauenkirche: Preservation and the Destruction of Complexity — Mark Jarzombek The rebuilding of Dresden’s Frauenkirche was heralded not only as a moment of national pride in the re-unification of Germany, but also as a geopolitical event, healing the still open wounds of WWII. Is it possible to see past the structuring of this project, or is the discipline of preservation so tied into the narrative of its selfjustification that alternative readings are made impossible? The talk will try to bring out the paradoxes associated with the rebuilding to argue that there must be a role – perhaps only in academe – where conditions of post-traumatic complexity can be theorized and discussed.

Heritage, Difference and Post-Conflict Development — Rodney Harrison

A Pile of Stones: An Additional Monument for Palmyra — Clive van den Berg

While much is currently made of the regenerative potential for heritage to (re)build peace and community in post-conflict situations, such moves frequently neglect the primary functions which heritage has played in producing the different ‘transactional realities’ – race, ethnicity, culture, nationality – along which fracture lines have been articulated and forms of violence have been targeted against particular segments of the population. Indeed, one might argue that heritage is not a remedy for, nor opposed to conflict, but the opposite – that conflict is actually integral to, and an inevitable outcome of, heritage.

This paper aims to engage critically with the concept of post-conflict heritage, arguing that heritage cannot easily be disentangled from its collecting, ordering, and governing practices and the forms of violence which these practices may facilitate.

Men are being thrown off rooftops in Syria and Iraq. Accused of being gay by members of ISIS, they are blindfolded and bound and then pitched to the streets below where crowds of men and boys wait with piles of stones. The killers photograph these murders from the tops of buildings or from the pavement. The photographs are then published by ISIS and form part of a visualized ideology skilfully disseminated through their own publications and released on other news platforms.

I have been working from these images.

They are appalling, difficult to look at, as much due to the immediacy of the individual tragedies, as because these deaths cannot be mourned. Unnamed and unnameable these men are denied any connection with familial and social fabrics, leaving the killers photographs as the dominant public record of their deaths. I will discuss my recent sculptural interventions, whose commemorative purpose is informed by the monuments of Palmyra.

Authorship / Ownership — Nikolaus Hirsch While the starchitecture system looks like an increasingly solipsistic and exhausted formalism – unable to claim any relevance beyond its own narrow field – preservation (and its relation to design) has become the new battleground for the cultural conflicts and political struggles of our time. In his lecture Nikolaus Hirsch will intertwine problems of preservation with his own design projects. He will expose extreme conditions of duration: From a monument with its brief of a maximum control over time and material to a project in which he purposely loses control. Whose authorship and whose ownership are at stake? Which history? Whose history?

Speakers Azra Akšamija is an artist and architectural historian, an Associate Professor in the Art, Culture and Technology Program at MIT. Akšamija’s artistic work provides a framework for researching, analyzing, and intervening in contested socio-political realities. Her academic research focuses on the politics of cultural memory and the 1990s Yugoslav wars. Her book Mosque Manifesto (Revolver, 2015), explores transcultural aesthetics and cultural mobility in the context of Islam in the West. Akšamija holds master degrees from the Technical University Graz and Princeton University, and a Ph.D. from MIT. Her work has been shown internationally in venues such as the Generali Foundation Vienna, Liverpool Biennial, Sculpture Center New York, Secession Vienna, Manifesta 7, the Royal Academy of Arts London, Queens Museum, and the Fondazione Giorgio Cini within the 54th Venice Biennale. She received the Aga Khan Award in 2013 for her prayer space design in the Islamic Cemetery Altach, Austria.

Lucia Allais is a historian and theorist whose work addresses the intersection of architecture, preservation, politics, and technology in the modern period, with a particular focus on international institutions and global practices. Her forthcoming book, Designs of Destruction, is a history of monument survival and internationalism in the mid20th Century. She has published a number of articles on related themes, as well as on the history of architectural theory, and on contemporary design. She is an

Assistant Professor at Princeton University, a member of the Aggregate collaborative, and an editor of Grey Room.

Leila A. Amineddoleh is the Founder of Amineddoleh & Associates, LLP where she specializes in art, cultural heritage, and intellectual property law. She is involved in all aspects of due diligence and litigation. She has represented major art collectors and dealers in matters related to multi-million dollar contractual disputes, international cultural heritage law violations, the recovery of stolen art, complex fraud schemes, and the acquisition and sale of art objects. She has published extensively on issues related to art, cultural heritage, and intellectual property, and has appeared in the New York Times, Forbes Magazine, The Guardian, TIME Magazine, and the Wall Street Journal. She also teaches Art & Cultural Heritage Law at Fordham University School of Law and St. John’s University School of Law, in addition to Art Crime and the Law at New York University. She served as the Executive Director of the Lawyers’ Committee for Cultural Heritage Preservation from 2013 through 2015.

Zaki Aslan is a conservation architect and founding director of ICCROM-ATHAR Regional Conservation Centre in Sharjah.

He was previously Manager of the ATHAR Programme (Conservation of Cultural Heritage in the Arab Region) at ICCROM in Rome. Aslan holds a Ph.D. in Heritage Conservation and Management from the University College London and a M.Sc. degree in Conservation of the Built Environment from the University of Montreal. He previ-

ously worked as consultant to UNESCO, EC, and ICCROM on projects in the fields of heritage conservation and management in the Arab countries and was engaged in the US-funded Cultural Resource Management Program in Jordan. Aslan is also honorary senior lecturer at University College LondonQatar, adjunct professor at the American University of Sharjah, and advisor to ASOR Project for Syria, Iraq, and Libya. He is member of the editorial board of the “Journal of Conservation and Management of Archaeological Sites”.

Erica Avrami is the James Marston Fitch Assistant Professor of Historic Preservation at Columbia GSAPP. She formerly served as Director of Research and Education for World Monuments Fund and as a Project Specialist at the Getty Conservation Institute. Her research and publications focus on the intersection of heritage and sustainability, cultural heritage planning and management, values-based and participatory approaches to conservation, and the societal outcomes of historic preservation policy. Avrami earned her B.A. in Architecture and M.S. in Historic Preservation at Columbia University and her Ph.D. in planning and public policy at Rutgers University. She has taught in the preservation programs at the University of Pennsylvania and Pratt Institute.

Avrami was a Trustee and Secretary of the US Committee of the International Council of Monuments and Sites (US/ICOMOS) from 2003 to 2010, and she currently serves on the editorial advisory board of the journal Change Over Time.

Zainab Bahrani is the Edith Porada Professor of Ancient Near Eastern Art History and Archaeology at Columbia University in New York. Bahrani is the author of several books, including Rituals of War (New York: Zone Books, 2008), which won the American Historical Association’s James Henry Breasted Prize. Her most recent book, The Infinite Image: Art, Time and the Aesthetic Dimension in Antiquity (University of Chicago Press, 2014) won the Lionel Trilling Prize in 2015. Her fieldwork has been in Iraq, Syria and Turkey and she currently directs the Columbia University field project, Mapping Mesopotamian Monuments.

Julián Esteban-Chapapría is Associate Professor in the architectonic projects division at Polytechnic University of Valencia. He is the author of Valencian views from Anthonis Van den Wyngaerde, Almirall Palace, Northern façade of the city of Valencia, Restoration and rehabilitation of the former Monastery of San Miguel de los Reyes, Alejandro Ferrant and the monument conservation in Spain (1929 – 1936), The conservation of architectural heritage during the Spanish Second Republic (1931 – 1939), Heritage conservation during the early Francoism: under the sign of victory (1936 – 1959), and Spanish architectural heritage in USA. He has realized numerous restoration projects and new buildings. Esteban-Chapapría is a member, president and founder of the Partal Academy. He was previously manager of the historical archives of the Architects Institute of Valencian Community until 1981, when he started to manage the Build-

ing heritage of the Valencian Government. From 1992 until 2011 he managed the Architecture Service.

David Gissen is Professor of Architecture and Visual and Critical Studies at the California College of the Arts and a visiting professor at several schools in the United States and Europe where he lectures and teaches in the areas of architecture, urban, and landscape history-theory, writing and design. At CCA, he co-directs the Experimental History Project and the MAAD HTX degree.

Rodney Harrison is Professor of Heritage Studies at the Institute of Archaeology, University College London. He is the founding editor and editor-in-chief of the Journal of Contemporary Archaeology and a founding Executive Committee member of the Association of Critical Heritage Studies. He is the (co)author or (co)editor of more than a dozen books and special guest edited journal volumes and over 60 refereed journal articles and book chapters on topics relating broadly to the material pasts, presents, and futures of anthropology, archaeology, heritage, material culture, and museums, including Collecting, Ordering, Governing: Anthropology, Museums and Liberal Government (Duke, 2017), Heritage: Critical Approaches (Routledge, 2013) and Understanding the Politics of Heritage (Manchester University Press, 2010). He is currently Principal Investigator of the large, collaborative, interdisciplinary Heritage Futures research programme. From January 2017 he will be UK Arts and Humanities Research Council Priority Area Leadership Fellow for Heritage.

Nikolaus Hirsch is a Frankfurtbased architect, curator, and educator. He was the dean of Städelschule and director Portikus Kunsthalle in Frankfurt and currently teaches at Columbia University in New York. His architectural work includes the award-winning Dresden Synagogue (2001), Hinzert Document Center (2006), Bockenheimer Depot Theater (with William Forsythe), and the Cybermohalla Hub in Delhi. Current projects include an artist residency at Rirkrit Tiravanija´s “The Land” and a pavilion at the Museo Tamayo in Mexico City.

He curated “ErsatzStadt: Representations of the Urban” at Volksbühne Berlin (2005), “ Cultural Agencies” (Istanbul, 2009/10), the Folly project for the Gwangju Biennale (2013), the Real DMZ Project in Korea, and “Housing Question” at HKW in Berlin (2015). Hirsch is the author of the books “On Boundaries” (2007), “Institution Building” (2009), and co-editor of the Critical Spatial Practice series at Sternberg Press and the new e-flux architecture platform.

Mark Jarzombek is Professor of the History and Theory of Architecture at MIT. He works on a wide range of historical topics from the 12th century to the modern era. He is one of the country’s leading advocates for global history and has published several books and articles on that topic. He also has published on topics such as the politics of memory and urban destruction.

Laura Kurgan is an Associate Professor of Architecture at the Graduate School of Architecture Planning and Preservation at Columbia University, where she directs the Visual

Studies curriculum, and the Center for Spatial Research. She is the author of Close Up at a Distance: Mapping, Technology, and Politics (Zone Books, 2013).

Her work explores things ranging from digital mapping technologies to the ethics and politics of mapping, and the art, science, and visualization of data. Her work has appeared at the Cartier Foundation in Paris, the Venice Architecture Biennale, the Whitney Altria, MACBa Barcelona, the ZKM in Karlsruhe, and the Museum of Modern Art. She was the winner of the United States Artists Rockefeller Fellowship in 2009.

Rosalind C. Morris is Professor of Anthropology, and former Director of the Institute for Research on Women, Gender and Sexuality, as well as former Associate Director of the Institute for Comparative Literature and Society at Columbia. She is the author of books and essays that range in their objects from the social life and historical archive of gold mining in South Africa to the histories of modernity in Southeast Asia. She also writes on photography, film, and mass media, and both materialist (Marxian) and deconstructionist (Derridean) philosophies. Her forthcoming book, The Returns of Fetishism, will be published by the University of Chicago in Spring 2017. In addition to recent volumes on William Kentridge and Clive van den Berg, she is the editor of Can the Subaltern Speak?: Reflections on the History of an Idea (Columbia, 2010) and Photographies East: The Camera and its Histories in East and Southeast Asia (Duke, 2009).

Jorge Otero-Pailos works at the intersection of art, architecture, and preservation. He is Professor and Director of Historic Preservation at GSAPP. His work has been commissioned by and exhibited at the 53rd Venice Art Biennial, Victoria and Albert Museum, Louis Vuitton Galerie Museum, Artangel Trust, Thyssen-Bornemisza Art Contemporary, and the Yerba Buena Center for the Arts. He is the founder and editor of the journal Future Anterior, author of Architecture’s Historical Turn, and contributor to the Oxford Encyclopedia of Aesthetics and Rem Koolhaas’ Preservation Is Overtaking Us. He is a member of the Academy of Arts and Sciences of Puerto Rico, and has received awards from the Kress Foundation, Graham Foundation, Fitch Foundation, Canadian Center for Architecture, and the UNESCO Eminent Professional Award.

William Raynolds works on architectural and archaeological conservation projects in environments where fluctuation in the urban fabric is especially rapid and applied legal protection is scarce. He is chiefly interested in low-cost and readily deployable techniques to collect reliable geospatial and conditions information for historic sites, enabling local authorities and concerned citizens to safeguard what they can with tightly constrained resources. He frequently contributes to conservation projects throughout the Middle East and North Africa and is a member of the Oberlin Archaeological Mission to Libya.

Both before and after the 2011 revolution, he has worked closely with members of the Libyan Department of Antiquities to build capacity in documenting,

inventorying, and protecting historic resources during a time of unprecedented change. A graduate of the GSAPP program in Historic Preservation, he has consulted for the Getty Conservation Institute, UNESCO and World Monuments Fund.

Laurie Rush is an Anthropologist and Archaeologist who has lived, worked and studied in northern New York for over thirty years. Her area of research focuses on the ancestors of the Native Americans of northeastern North America. She has a BA from Indiana University Bloomington, an MA and Ph.D from Northwestern University, and is a fellow of the National Science Foundation and the American Academy in Rome. Dr. Rush was the military liaison for return of Ur to the Iraqi People and has represented the US DoD for heritage issues in Kabul and across the Middle East. She is a Board Member of the US Committee of the Blue Shield, has won numerous awards, and lectures and publishes internationally. Dr. Rush is profiled in “Lives in Ruins” and is co-author of the new book, “The Carabinieri TPC; Saving the World’s Heritage”.

Clive van den Berg lives in Johannesburg. He works as much in the studio as he does in the public sphere where he designs museum spaces, facilitates and makes public artworks. Much of his studio based work is concerned with histories of love, particularly love between men in situations of censure. He is a director of Trace, a multi-disciplinary collective who have been responsible for the design of several of South Africa’s postapartheid spaces.

Tim Winter is Research Professor at the Alfred Deakin Institute, Deakin University, Melbourne.

He is also President of the Association of Critical Heritage Studies and been a Visiting Scholar at the University of Cambridge, The Getty and Asia Research Institute, Singapore.

He has published widely on heritage, development, urban conservation, and the international politics of heritage. He has previously worked with the World Bank, Getty Conservation Institute, and World Monuments Fund, and his recent books include The Routledge Handbook of Heritage in Asia and Shanghai Expo: an international forum on the future of cities.

He is currently working on a book on heritage diplomacy and on projects addressing the 21st century Silk Road.

2016 Fitch Colloquium Preservation and War Friday, September 30, 2016 9:30am – 5:30pm Columbia University Graduate School of Architecture, Planning and Preservation arch.columbia.edu

James Marston Fitch Architect, preservationist, and founder of the Historic Preservation Program at Columbia University (1964) where he was a member of the faculty from 1954 to 1977. Fitch taught and lectured widely and was a true internationalist – studying and writing in Africa, the Middle East, Europe, and the former Soviet Union. Jane Jacobs considered Fitch “the principal character thistoric buildings practical and feasible and popular.” The James Marston Fitch Colloquium became an annual event at Columbia GSAPP in 2000.

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