Women . Architecture & Design Itineraries across Europe Barcelona Lisbon Paris Turin The NetherlandsSlovenia COVER_MOMOWO_GUIDE_01.indd 1 10. 06. 16 10:25 MoMoWo Partnership With the Patronage of: This publication reflects the views only of the authors, and the Commission cannot be held responsible for any use which may be made of the information contained therein. MoMoWo Women . Architecture & Design Itineraries across Europe Edited by Sara LEVI SACERDOTTI, Helena SERAŽIN, Emilia GARDA, Caterina FRANCHINI MoMoWo Scientific Committee: POLITO (Turin | Italy) Emilia GARDA, Caterina FRANCHINI IADE-U (Lisbon | Portugal) Maria Helena SOUTO UNIOVI (Oviedo | Spain) Ana Mária FERNÁNDEZ GARCÍA LU (Leiden | The Netherlands) Marjan GROOT SA Lublana Slovenia elena SEAI UGA (Grenoble | France) Alain BONNET SiTI (Turin | Italy) Sara LEVI SACERDOTTI © 2016, MoMoWo , IS, aloba , SA, Lublana English language editing by Luigi Genta traduzioni Design concept and layout by Andrea urlan SA, iga orn Revisions of design by MoMoWo POLITO's team Published by France Stele Institute of Art History ZRC SAZU, represented by Barbara Murovec Issued by aloba , represented by to Luthar Printed by Agit Mariogros, Beinasco (TO) Publication of the project MoMoWo - Women’s Creativity since the Modern Movement This project has been co-funded 50% by the Creative Europe Programme of the European Commission. irst edition / rst print run: Ljubljana, Turin 2016 http://www.momowo.eu 4 5 omen’s creativity since the Modern Movement - MoMoWo is a Politecnico di Torino - POLITO, MoMoWo has six co-organisers from Wlarge-scale cooperation proect co-nanced by the European nions universities and research centres in France, Italy, the Netherlands, Portugal, Creative Culture Programme under the Culture Sub-Programme (Education, Slovenia and Spain. he co-organisers elds o interest are complementary Audiovisual and Culture Executive Agency - EACEA). It is a four-year non- to each other. prot proect that began on th ctober . The research teams are made up of architects, civil engineers, designers, The project considers an issue of contemporary cultural, social and art historians, historians of architecture, design historians, technologists, economic importance from a European and interdisciplinary perspective political scientists and economists from six different countries. They are namely women’s achievements in the design professions. These specialised in: gender studies, Modern Movement history and technology, achievements are in elds including architecture, civil engineering, urban cultural heritage, cultural tourism and mareting. his mi o noledge and planning, landscape design, interior design, furniture and furnishing design sills is essential in order to consider MoMoWo as a multidisciplinary proect, some of which are still perceived as traditionally male professions. thus providing European added value and fostering the protection and 6 promotion of European cultural diversity. he proect ors toards the harmonious development o European society by removing disparities and increasing gender equality both in Emilia Garda, Project Leader the orplace and beyond. MoMoWo aims to reveal and promote the contribution of women design professionals to European cultural heritage hich, until no, has been signicantly hidden rom history. At the same Why the MoMoWo project? time - considering istory as a living matter - it aims to promote and he project originated from a number of under reported issues. The increase the value o the ors and achievements o past and present Tcontemporary history of women’s creativity and the tangible cultural generations of women professionals to give strength to future generations heritage produced by omens ors is still mostly unnon today, not only of creative women. by the general public, but also by students, scholars and professionals. his proect, organised or the rst time on a European scale, as Through experience gained during research and teaching it has been noticed conceived to be interdisciplinary and is intended to give a new impetus that, except for a few monographs or female gender anthologies, women’s to broaden studies in Europe and beyond. Besides the Project Leader, ors are not highlighted in tet boos on the istory o Architecture, istory of Building Technologies and Engineering, Urban History and Design History. The project’s major research activity consists of a database of women Furthermore, buildings designed by women are rarely included in tourist or architects, civil engineers and designers active in their profession in Europe, architectural guideboos o maor European cities. nly a e archistar from 1918. It has been created to support MoMoWo cultural activities and its women are represented by the History of Contemporary Architecture, products, such as this guideboo o architectural and design itineraries, the although a considerable number of women architects appears in prestigious international travelling ehibition and its catalogue, and the nal symposium specialised magazines. Conversely, in 20th century history many women and its boos. hree historical orshops and their open-access publications designers in the tetiles, ashion, eellery and ceramics elds have made a aim to collect materials to enrich the database and to share and debate the name for themselves and their talent has been fully recognised. design experiences of European women. hrough the proect e ould lie to anser uestions that have been raised o international competitions, the rst or the design o MoMoWo visual in Europe since the Twenties and that are still of great relevance today. identity and the second, for a photography reportage on women architects’ Is there a professional space for European women in traditionally male own homes were conceived to transform audiences from passive receivers professions? What can be learned from European women pioneers so as into creators and active users of cultural contents. 7 to improve women's current professional achievements in architecture, civil Annual open days held in professional women’s studios celebrate engineering and design? International Women’s Day every 8th March in partners’ countries. They are The project intends to bridge the gap between past and future generations intended to provide the opportunity to mae ne contacts by visiting omen in order to increase the awareness of capabilities of the female gender architects, civil engineers and designers studios, thus transerring no-ho and contribute to women’s liberation from professional prejudices and beteen dierent generations, netoring ith proessionals and creating a clichés. This is why from the outset of the project proposal, engaging a sense of community. broader public ith ors created by omen has been a priority in order to Last, but not least, the MoMoWo website is both a repository of research engender ne perceptions o proessions and ne narratives in the elds o products and eperiences and their dissemination tools. hereore, to nd architecture, civil engineering and design. out more about the project and its activities visit: www.momowo.eu The ambition of this cultural project goes beyond the mere cliché that women architects, civil engineers and designers should be entrusted with Caterina Franchini, Assistant Project Leader tass specically related to omen in order to mae certain built spaces or products even more successul, on the grounds that omen have a dierent vie o things. onseuently, through its activities MoMoWo tacles a real equal opportunities theme, in both the past and present. n many places, tourism is extremely important for the growth of the local especially where the local economy was founded on models of industrial Ieconomy. The valorisation of the territory in tourism terms is increasingly monoculture. lined to interventions to identiy innovative tools aimed at best combining The Italian Ministry of Cultural Property and Activities and Tourism has the expectations of visitors with the welcome of the locals. It is above all dened tourism as the most important economic ministry. A uic, but thans to this crossroads o supply and demand that tourism can be a ont important example: what does valorising culture mean? In November 2012 of economic growth on one hand, and tourist satisfaction on the other. (two years before the centenary), France opened the National Museum The question that arises is no longer that of counting arrivals and stays o the reat War in Meau, and launched it ith the aceboo page (hardware) but rather on the culture of hospitality, the training of operators which told the story of a young engaged couple who had been separated (software) and the integration with policies regarding disabled access, the by the conflict. Again in France, every year, more than six million visitors 8 environment, urban planning, and culture or architecture - as is the case here. buy a ticet to go and see the locations o the ar, and spend on average For this reason, tourism is studied with a more integrated approach, one 6 € if they are passing through, but 88 € if they are tourists staying in the that characterises a reading of the territory by SiTI. area. his is hat valorising means - or rather maing touristic. his approach is then oined by the participation o staeholders and the In Italy it is estimated that cultural tourism generates a total o , billion, use of innovative technology which allow us to analyse and reorganise 60% of which is generated by foreign tourists. To give an idea of how much tourism by monitoring the flow and behaviour