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Becoming a Feminist Architect, … Visible, Momentous, With
1 ISSN: 1755-068 www.field-journal.org vol.7 (1) Becoming a Feminist Architect, … visible, momentous, with Karin Reisinger and Meike Schalk 1 Besides this issue, the conference has led This issue is one of three publications subsequent to the 13th International to Hélène Frichot, Catharina Gabrielsson Architectural Humanities Research Association (AHRA) Conference and Helen Runting, eds., Architectures “Architecture & Feminisms: Ecologies, Economies, Technologies,” which and Feminisms: Ecologies, Economies, th Technologies (London: Routledge, was held at KTH School of Architecture, Stockholm, between the 17 to 2017) and Karin Reisinger and Meike 19th November in 2016.1 The conference gathered around 200 participants Schalk, eds., “Styles of Queer Feminist and included over a hundred paper presentations and performances, Practices and Objects,” Architecture and Culture Vo. 5 Issue 3 (2017). as well as two exhibitions. The overwhelming interest in reviving the feminist discourse in architecture gave us the opportunity to reflect on the 2 Elizabeth Grosz, ed., Becomings: process of becoming feminist architects. Becoming a feminist architect Explorations in Time, Memory, and is a complex process, rife with strategies, tactics, frictions, advances and Futures (Ithaca and London: Cornell retreats, that will continue to engage us in the future as it does now. University Press,1999), 77-157. This became clear through the presentations of a wide range of different 3 Doina Petrescu. “Foreword: From feminist architectural practices, both historical and contemporary, Alterities and Beyond,” in Altering their diverse theoretical underpinnings and methodological reflections Practices: Feminist Politics and Poetics and speculations. The present publication assembles a series of vital of Space, ed. Doina Petrescu (London and New York: Routledge, 2007), xvii. -
Past the Parapets of Patriarchy? Women, the Star System, and the Built Environment
Past the Parapets of Patriarchy? Women, the Star System, and the Built Environment Cynthia Hammond, Concordia University, has On June 10, 2009, the Beverly Willis received awards for her writing on the roles Architecture Foundation (BWAF) premiered a played by such women as Florence Nightingale short documentary at the Guggenheim Museum and Catherine Bauer Wurster in the in New York as part of the events related to the development of institutional and modern upcoming retrospective on the American architecture, showing how their production was architect, Frank Lloyd W right (1867-1959). This embedded within larger questions of nation, film, entitled A Girl Is a Fellow Here: 100 colonialism, and gender. She holds a Women Architects in the Studio of Frank Lloyd three-year, Emerging Scholar award (FQRSC) Wright, presents for the first time an account of for the study of Montreal's public, modernist 6 of the more than 100 women who, as buildings and spaces. architects, helped to build Wright's reputation as the greatest American architect of the Abstract twentieth century. The launch was followed by Twenty years after architect Denise Scott a panel discussion about how such an Brown challenged the patriarchal exclusion of important omission has endured. The film is a women from the "star system," what is the brief but potent counterthesis to the myth of status of women in architecture today? Drawing Wright's solitary and unique genius, a narrative examples from architectural history, recent that has many echoes in a recent spate of films statistics and current initiatives, the author devoted to individual, male architects. -
The Minnesota Women in Architecture FAIA Legacy Project
The Minnesota Women in Architecture FAIA Legacy Project Susan Blumentals Oral History Interview November 27, 2018 Introduction Legacy Project The Minnesota Women in Architecture FAIA Legacy Project, is a joint effort of the Minnesota Architectural Foundation (MAF) and the American Institute of Architects (AIA) Women in Architecture Committee. In 2018, the Legacy Project began to amplify the achievements of our female fellows by documenting the stories of the women architects in the Minnesota recognized with the AIA’s highest membership honor, Fellowship (FAIA). The project’s primary goals are: 1) to increase the visibility of women architects to break down stereotypes that may be instrumental in the formation of unconscious bias about the women in the profession and 2) to increase the visibility of women architects to encourage more women to seek a career in architecture and to stay productive in the profession despite adversity. Funding from the Minnesota Historical Society supported the first eleven interviews and oral histories; with this template, the project will continue to grow. Su Blumentals Elevated to Fellow in 1999, Susan Blumentals was the first woman design professional on the Minnesota Board of Registration and a catalyst for its transformation into a functioning, open regulatory agency. 1 Interview Su Blumentals, Interviewee Kimberly Long Loken, Interviewer November 27, 2018 Kimberly Long Loken: KL Su Blumentals: SB Track 1 00:00 KL Today is the 27th of November, 2018. This is Kimberly Loken interviewing Su Blumentals. So Su, would you state your full name and when and where you were born for the archive? SB Susan Blumentals. -
In the Design Professions: an Intersectional Feminist Study of the Women's School of Planning and Architecture (1974-1981)
University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations Dissertations and Theses Fall November 2014 Project Space(s) in the Design Professions: An Intersectional Feminist Study of the Women's School of Planning and Architecture (1974-1981) Elizabeth Cahn University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_2 Part of the Feminist, Gender, and Sexuality Studies Commons, Urban, Community and Regional Planning Commons, and the Urban Studies and Planning Commons Recommended Citation Cahn, Elizabeth, "Project Space(s) in the Design Professions: An Intersectional Feminist Study of the Women's School of Planning and Architecture (1974-1981)" (2014). Doctoral Dissertations. 160. https://doi.org/10.7275/6044908.0 https://scholarworks.umass.edu/dissertations_2/160 This Open Access Dissertation is brought to you for free and open access by the Dissertations and Theses at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. PROJECT SPACE(S) IN THE DESIGN PROFESSIONS: AN INTERSECTIONAL FEMINIST STUDY OF THE WOMEN’S SCHOOL OF PLANNING AND ARCHITECTURE (1974-1981) A Dissertation Presented by ELIZABETH CAHN Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY September 2014 Regional Planning © Copyright by Elizabeth Cahn 2014 All Rights Reserved PROJECT SPACE(S) IN THE DESIGN PROFESSIONS: AN INTERSECTIONAL FEMINIST STUDY OF THE WOMEN’S SCHOOL OF PLANNING AND ARCHITECTURE (1974-1981) A Dissertation Presented by ELIZABETH CAHN Approved as to style and content by: _________________________________ Mark T. -
Parlour: the First Five Years
143 ISSN: 1755-068 www.field-journal.org vol.7 (1) Parlour: The First Five Years Naomi Stead, Gill Matthewson, Justine Clark, and Karen Burns Parlour: women, equity, architecture is a group whose name derives from a rather subversive feminist take on the 'parlour' as the room in a house traditionally used for receiving and conversing with visitors. In its first five years, Parlour has grown from a scholarly research project into an activist group with an international reach, but a localised approach to working through issues of equity and diversity in architecture. This paper is a lightly edited version of a keynote 'lecture' given jointly by four of the key members of the Parlour collective. 144 www.field-journal.org vol.7 (1) Some readers may be familiar with the work of the activist group Parlour: 1 Please note that the order of women, equity, architecture.1 Some might even know the origins of our authors’ names are listed by the name: a rather subversive feminist take on the ‘parlour’ as the room in a order in which we spoke – as house traditionally used for receiving and conversing with visitors. The opposed to a hierarchical account of importance or contribution. name itself derives from the French parler – to speak – hence, a space to speak. But even if you knew these things, you might not realize that what has become an internationally recognized activist organization, working towards greater gender equity in the architecture profession, began its existence as a scholarly research project. This paper is a lightly edited version of a keynote ‘lecture’ given jointly by four of the key members of the Parlour collective. -
Against All Odds MIT's Pioneering Women of Landscape Architecture
Against all Odds MIT’s Pioneering Women of Landscape Architecture * Eran Ben-Joseph, Holly D. Ben-Joseph, Anne C. Dodge1 Massachusetts Institute of Technology, School of Architecture and Planning, City Design and Development Group 77 Massachusetts Ave. 10-485 Cambridge, MA 02139 1 November 2006 * Recipient of the 6th Milka Bliznakov Prize Commendation: International Archive of Women in Architecture (IAWA) This research is aimed at exposing the influential, yet little known and short-lived landscape architecture program at the Massachusetts Institute of Technology (MIT) between 1900 and 1909. Not only was it one of only two professional landscape architecture education programs in the United States at the time (the other one at Harvard also started at 1900), but the first and only one to admit both women and men. Women students were attracted to the MIT option because it provided excellent opportunities, which they were denied elsewhere. Harvard, for example did not admit women until 1942 and all-women institutions such as the Cambridge School or the Cornell program were established after the MIT program was terminated. Unlike the other schools of that time, the MIT program did not keep women from the well-known academic leaders and male designers of the time nor from their male counterparts. At MIT, women had the opportunity to study directly with Beaux-Art design pioneers such as Charles S. Sargent, Guy Lowell, Désiré Despradelle, and the revered department head Francis Ward Chandler. Historical accounts acknowledged that a woman could “put herself through a stiff course” at MIT including advance science and structural engineering instruction. -
THE Ambrkian Arciiitectcrat' Fotjndatlon
THE AMBRKiAN ARCIIITECTCRAt' FOtJNDATlON "That Exceptional One: Women in American Architecture, 1888-1988" is organized and circulated by the American Architectural j Foundation and the AIA Women in Architecture Committee. The exhibition will premiere on • May 15,1988, at die AIA National Convention | and Design Exposition in New York City before traveling nationwide during its three-year tour. The American Institute of Architects, founded in 1857, is a voluntary not-for-profit member- i ship organization representing more than 54,000 architects and architectural profession- i als in nearly 300 state societies and local chapters stretching from Maine to Guam. The mission of the American Architectural ] Foundation, the publicly oriented arm of the ( AIA, is to advance the quality of American j architecture by stimulating the public's aware- ness and understanding of architecture and its related arts. "I cannot, in whole conscience, recommend architecture as a profession for girls. I know some women who have done well at it, but the obstacles are so great that it takes an exceptional girl to make a go of it. If she insisted on becoming an architect, I would try to dissuade her. If then, she was still determined, I would give her my blessing—she could be that exceptional one." Pietro Belluschi, EilA, 1972AIA Gold Medalist, from the 1955New York Life Insurance Company brochure, "Should You Be an Architect?" Contents 5 A Message from the President of The American Institute of Architects 6 A Message from the Chair of the AIA Women in Architecture Committee 7 Preface 9 "That Exceptional One: Women in American Architecture, 1888-1988" 27 AIA Archive of Women in Architecture 41 Selected Bibliography WHHW A Message from the President of The American Institute of Architects The American Institute of Architects is priv- past decade alone, reflecting the priority placed ileged to sponsor this major national exhibi- by the AIA to breaking down once and for all tion on the history of women in architecture. -
Mapping the (Invisible) Salaried Woman Architect: the Australian Parlour Research Project Karen Burns, Justine Clark and Julie Willis
143 Review Article Mapping the (Invisible) Salaried Woman Architect: The Australian Parlour Research Project Karen Burns, Justine Clark and Julie Willis The (invisible) salaried woman architect: The architects in the service of bureaucracies. This Parlour project special journal issue retrieves a domain of ‘invis- During the 1970s, feminist historians highlighted ible’ architects, and our paper offers a distinctive ‘women’s invisibility’ in written histories and argued focus on the topic by exploring the gendering of the that these absences exposed structural biases in salaried architect. We begin by drawing attention to history writing.1 Through mainstream history and its the over-representation of women as salaried archi- privileging of particular topics and institutional struc- tects in both the historical record and contemporary tures, history’s very objects of inquiry threatened practice. Moving beyond this demographic outline, to perpetuate women’s invisibility. For example, the paper studies women architects’ everyday work although women had been political participants in the office.5 Focusing the gaze of historians and throughout history, they had organised and oper- theorists on the office rather than the building site ated in informal ways and their practices were provides an important shift of attention that chal- marginalised within the historical record.2 For some lenges them to conceptualise the production of historians, it was not simply a task of adding women buildings within the organisation of the architectural in and -
International Archive of Women in Architecture
IAWA NEWSLETTER International Archive of Women in Architecture Virginia Polytechnic Institute and State University Fall 2002 No. 14 Message from the Chair New Acquisitions: Women Architects in Japan The IAWA continues to expand its audience and patrons A Brief History throughout the world. A growing number of newly published scholarly Traditionally, buildings in Japan books have referred to the IAWA’s primary source materials. Other were executed by carpenter scholars have visited the IAWA for their research, and a growing families, similar to the builders’ number of websites have linked to the IAWA home page and guilds in Europe. Architectural databases. More and more scholars are pleasantly surprised to find education evolved out of the database and have plans to use it. This will ultimately expand the engineering, when in 1886 the collection as these scholars contribute and donate their own work to Tokyo Imperial University was the IAWA. This year 3,000 Newsletters were printed and are being founded with an Engineering distributed around the world. The IAWA Newsletter along with College (based on Tokyo brochures and information about the Milka Bliznakov Prize were Industrial College), and Colleges exhibited at conferences both nationally and internationally. for Law, Medicine, Literature, and Nobuko Tsuchiura at the Millard Annual Meeting Science. House in Pasadena, CA. Susana Torre, M. Rosaria Piomelli, Robert Stephenson, Women, however, did not have access to architectural and Milka Bliznakov former advisors were elected IAWA Emeritus. education until after WW II when a policy of coeducation was Dr. Bliznakov, Founder and Chair of the Board of Advisors from 1985 adopted. -
The Politics of Friends in Modern Architecture, 1949-1987”
Title: “The politics of friends in modern architecture, 1949-1987” Name of candidate: Igea Santina Troiani, B. Arch, B. Built Env. Supervisor: Professor Jennifer Taylor This thesis was submitted as part of the requirements for the award of Doctor of Philosophy in the School of Design, Queensland University of Technology in 2005 i Key words Architecture - modern architecture; History – modern architectural history, 1949-1987; Architects - Alison Smithson, Peter Smithson, Denise Scott Brown, Robert Venturi, Elia Zenghelis, Rem Koolhaas, Philosophy - Jacques Derrida, Politics of friendship; Subversive collaboration ii Abstract This thesis aims to reveal paradigms associated with the operation of Western architectural oligarchies. The research is an examination into “how” dominant architectural institutions and their figureheads are undermined through the subversive collaboration of younger, unrecognised architects. By appropriating theories found in Jacques Derrida’s writings in philosophy, the thesis interprets the evolution of post World War II polemical architectural thinking as a series of political friendships. In order to provide evidence, the thesis involves the rewriting of a portion of modern architectural history, 1949-1987. Modern architectural history is rewritten as a series of three friendship partnerships which have been selected because of their subversive reaction to their respective establishments. They are English architects, Alison Smithson and Peter Smithson; South African born architect and planner, Denise Scott Brown and North American architect, Robert Venturi; and Greek architect, Elia Zenghelis and Dutch architect, Rem Koolhaas. Crucial to the undermining of their respective enemies is the friends’ collaboration on subversive projects. These projects are built, unbuilt and literary. Warring publicly through the writing of seminal texts is a significant step towards undermining the dominance of their ideological opponents. -
No. 113 (October 1983)Broadsheet
up. The major expenses were wages and the hire of the van. Considering the stresses and strains of touring a show around The Broadsheet Office is on the first floor of the Gane Building, the country the wages (although union rates) seem pathetically 43 Anzac Avenue, Auckland. Office and bookshop hours: 9 low, but low or not they have to be paid out of the takings am — 4 pm Monday — Friday, Saturdays 10 am — 1 pm for and in smaller areas the audiences were not large enought the bookshop. Phone 794-751. Our box number is PO Box to cover costs. We have had dozens of letters, cards, 5799 Wellesley Street, Auckland, New Zealand. telephone calls and personal approaches from women who want another roadshow. We would like one too, but the severe financial drain on our bank balance is something we can’t sus Deadline for December — October 10 tain and keep somewhere near solvent. We receive generous Deadline for January — November 10 donations from time to time and we’re enormously grateful Small items, News, “What's New?” and adverts can reach us for these. Angela, Jess, Hilary, Margaret, Bernadette and up to two weeks after this date. Phee gave their time free during the month of rehearsals and Renee donated her royalties. Many women gave time on front- of-house and many others provided hospitality and billets. Without these we would be even more in the red than we are. Stuffing of the November issue will be on Saturday October We take your requests for another roadshow very seriously 29 at the Broadsheet Office from 10am. -
Women's Careers in the Australian Architecture Profession
Dimensions of Gender: Women’s Careers in the Australian Architecture Profession Gillian Mary Matthewson BArch, University of Auckland MA in Architecture, University of East London A thesis submitted for the degree of Doctor of Philosophy at The University of Queensland in 2015 School of Architecture Abstract Statistics on women in the architecture profession in Australia tell a story of women having truncated careers, limited longevity in the profession, and relative invisibility, despite significant and longstanding contributions. While Dana Cuff argues that the career path for all architects is fraught with uncertainty, gender appears to figure powerfully in making a career in architecture even more difficult for women.1 The situation is not well understood, since previous research has tended to draw on simple statistical counts, surveys, and anecdotal reportage—methods that are not necessarily subtle enough to investigate gendered practices in depth. However, research from other fields, particularly those investigating gender and the professions more broadly, reveals that architecture, while perhaps an extreme case, is not alone in its patterns of women’s participation. The fact that this has been rarely drawn upon within the field of architecture points to a significant gap in current knowledge regarding the impact of gender in the profession. Gaining a deeper understanding of this situation was a major impetus behind the Australian Research Council–funded Linkage Project: “Equity and Diversity in the Australian Architecture Profession: Women, Work and Leadership (2011–2014),” of which this dissertation forms a discrete part. This thesis contributes to knowledge by examining the complexity of gender in the Australian architecture profession through two main strategies, combining quantitative and qualitative methods in a complementary manner.