Women’s Creativity since the Modern Movement (1918–2018) Toward a New Perception and Reception Women's Creativity since the Modern Movement (1918-2018) Toward a New Perception and Reception ISBN 978-961-05-0106-0 EDITED BY Helena Seražin, Caterina Franchini and Emilia Garda TEXTS REVISION Chapter A Alenka Di Battista, MoMoWo, ZRC SAZU Katarina Mohar, MoMoWo, ZRC SAZU Helena Seražin, MoMoWo, ZRC SAZU Barbara Vodopivec, MoMoWo, ZRC SAZU MOMOWO SCIENTIFIC COMMITTEE POLITO (Turin | Italy) Emilia Garda, Caterina Franchini ENSILIS IADE (Lisbon | Portugal) Maria Helena Souto UNIOVI (Oviedo | Spain) Ana Mária Fernández García VU (Amsterdam | The Netherlands) Marjan Groot ZRC SAZU (Ljubljana | Slovenia) Helena Seražin STUBA (Bratislava | Slovakia) Henrieta Moravčíková Chapter B Henrieta Moravčiková, MoMoWo, STUBA Nina Bartošová, MoMoWo, STUBA Chapter C Ana María Fernández García, MoMoWo, UNIOVI Isabel Barro Rey Noelia Fernández García Esther Rodriguez Ortiz, MoMoWo, UNIOVI ORGANISING SECRETARIAT Cristiana Chiorino, ComunicArch PUBLISHER Issued by ZRC SAZU, France Stele Institute of Art History Represented by Barbara Murovec Published by Založba ZRC Represented by Oto Luthar Editor-in-chief Aleš Pogačnik Chapter D Elena Masala, MoMoWo, SiTI Chapter E Maria Helena Souto, MoMoWo, ENSILIS IADE Eduardo CÔrte-Real Silvia Rosado First e-edition. Ljubljana 2018 © 2018, ZRC SAZU, France Stele Institute of Art History, Založba ZRC © 2018, MoMoWo Chapter F Marjan H. Groot, MoMoWo, VU Ilja M. Meijer, MoMoWo, VU Caterina Franchini, MoMoWo, POLITO - DIST GRAPHIC DESIGN CONCEPT Andrea Furlan Alexandre Cunha (cover design) Chapter G Caterina Franchini, MoMoWo, POLITO - DIST Emilia Garda, MoMoWo, POLITO - DISEG LAYOUT Andrea Furlan Kataložni zapis o publikaciji (CIP) pripravili v Narodni in univerzitetni knjižnici v Ljubljani. ISBN 978-961-05-0106-0 (pdf), COBISS.SI -ID= 296713472 The international project MoMoWo – Women’s Creativity since the Modern Movement (552374-CREA-1-2014-1-IT-CULT-COOP2, 20. 10. 2014 – 19. 10. 2018) is co-funded by Creative Europe programme of the European Union, Slovenian Research Agency and Ministry of Culture of the Republic of Slovenia. PROOFREADING Helena Seražin, ZRC SAZU Katarina Mohar, ZRC SAZU Barbara Vodopivec, ZRC SAZU Salmah Eva-Lina Lawrence 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. 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. Content 21 35 50 58 67 77 87 96 Foreword Helena Seražin, Caterina Franchini and Emilia Garda 108 Gender in Architecture: A Feminist Critique on Practice and Education Rana Dubeissy Chapter A: Women’s Education and Training: National and International Mappings 116 Women in the Spanish Architecture Schools, from 1929 to 2018 Iñigo Galdeano Pérez 128 Sapienti Romane: Pioneers and Heirs at the Faculty of Architecture in Rome Serena Belotti, Monica Prencipe and Anna Riciputo 140 History of Women’s Education and Training in Nepal Suraj Khanal 151 Anna Maria Fundarò’s ‘Design for Development’ Marinella Ferrara 164 Flora Ruchat-Roncati: First Woman Professor at ETH Zurich: Introducing Women’s Standpoint in Architectural Pedagogy Katia Frey and Eliana Perotti Lyubov Zalesskaya: A Landscape Architect and Professor at the Moscow Architectural Institute Christiane Post 173 Women in Polish Architecture as an Example of Feminisation of the Architectural Profession Agata Gawlak, Piotr Marciniak and Magda Matuszewska Woman Architects during the First Years after the Russian Revolution: The Education, Early Work and Scientific Approach of Lydia Komarova Leda Dimitriadi 182 Alternative Education Environments: Working with the Socio-Physical Conditions Beste Sabır 193 Women’s Studies at the Architecture Faculty of Delft Technical University Charlotte van Wijk 201 Rosa Barba and the Barcelona School of Architecture (1992–2000): Landscape as a New Agency for Female Architects Ruben Larramendi and Lucía C. Pérez Moreno 211 Women and Representation: The Teaching of Drawing in the Italian Faculties of Architecture and Engineering Barbara Messina Women’s Education and Training: National and International Mappings Helena Seražin Annexs Contribution to Research of Architecture and Architectural Education in Croatia (1918–2018) Zrinka Barišić Marenić, Marina Bertina, Neda Mirnjek Kliska Women Designers and Architects in Early Twentieth Century Vienna Iris Meder Giulia Veronesi, Rosa Giolli Menni and Maria Brandon Albini: Three Profiles of Women in Milan in the Twenties and Thirties Rita D’Attorre The Feminisation of Architectural Education and Science: The Example of Ukraine Olga Mykhaylyshyn and Svitlana Linda Canadian Foundations: The Women Who Shaped Architecture and the Leaders They Formed Natalia Woldarsky Meneses 223 234 Nicia Paes Bormann and the Feminine Role in Modern Architecture of Fortaleza: Training and Teaching Activity Érica Martins 365 The Women Architects of Iran: Their Practice and Influence (1940–1976) Saeid Khaghani and Niloofar Rasooli 373 Beyond Architecture: The Legacy of the First Female Architects in the Modern Era of Concepción, Chile Luis Darmendrail Salvo 383 Tuscan Women Architects and Engineers: Visions, Practice and Intervention on Architectural Heritage Stefania Landi and Denise Ulivieri 393 Mualla Eyüboğlu: A Female Architect to Serve the Country Gertrud Olsson 402 Ruth Rivera Marìn and Her Commitment to Cultural Heritage Stefano Gizzi 410 Věra Machoninová: First Lady of the Czechoslovak Brutalist Architecture Klára Brůhová 420 Nadia Devinoy-Godar: The Architect Who Became a Politician Stéphanie Bouysse-Mesnage 429 Eileen Gray’s House E1027: A Unique Design of Modern Movement Heritage Fátima Pombo and Anna Marie Fisker University Commitment and Professional Experience: Ten Questions to Marcella Aprile Vincenza Garofalo Chapter B: Women’s Legacy and Heritage: Protection, Restoration and Enhancement 247 Women’s Legacy and Heritage: Protection, Restoration and Enhancement Henrieta Moravčíková, Nina Bartošová 269 Annex Learning from Lina: An Architecture of Twentieth Century for Nowadays Alessandra Criconia and Elisabeth Essaïan 280 Women in Conservation Profession in Socialist Yugoslavia: Some Comparative Perspectives Barbara Vodopivec 289 Three Women Architects in Turkey’s Conservation History Burcu Selcen Coşkun 300 The Role of Modern Women in the American Preservation Movement: The San Antonio Conservation Society and the Women who Saved the City’s Heritage Elsa G. De León 311 Romanian Women Architects in Preserving Cultural Heritage Mihaela Lazăr, Marilena Negulescu 321 Chapter C: Women in Communication and Professional Networks 441 Contribution to Research of Industrial Archaeology in Croatia (1918–2018) Zrinka Barišić Marenić Women in Communication and Professional Networks Ana María Fernández García Annex Women in Modern Neighborhoods: Margarete Schüte-Lihotzky, Jakoba Mulder, Lotte Stam-Beese and Carmen Portinho Zaida Muxí Martínez 330 Combining New and Ancient: The Design Experiences of Liliana Grassi and Gae Aulenti between Recovery and Innovation Federica Ribera and Pasquale Cucco 455 339 Lina Bo Bardi’s MASP: Concrete Remaking, Design Restoring Ana Carolina Pellegrini and Marta Silveira Peixoto 464 Feminine Presence Inside Architects and Urban Planner’s Professional Networks in Brazil: 1960s to 1980s Taiana Car Vidotto and Ana Maria Reis de Goes Monteiro 348 Odile Decq and the Maison Bernard by Antti Lovag Rossella Martino 473 Women as Interior Architects during Fifty Years of the BNI (Association of Dutch Interior Architects) Ilja Meijer 355 Bringing Latvian Architecture through International Age: Women’s Architectural Legacy in Latvia from 1918 to 2018 Alina Beitane and Agate Eniņa 483 Building the Networks in Architecture: Serbian Women Architects 1900–1941 Aleksandra Ilijevski 493 Women Who Build: Giulia De Appolonia, Ulla Hell, Elisa Burnazzi Daniela Turazza and Chiara Santi 607 Kazimiera Alberti’s Calabria: Reportage of a Journey in the Mid-Twentieth Century Maria Rossana Caniglia 500 Promoting Actions for Gender Equality in Architecture Fulvia Fagotto 616 Pioneer Women Architects in Romania and Italy Maria Bostenaru Dan 505 Paths of Resistance: Women in Architecture - an Association in Portugal Lia Pereira Saraiva Gil Antunes 628 The ‘Built’ Legacy of Poldi Hirsch: An European Architect Who Became an American Pioneer of the Modern Movement Selena Bagnara Milan 513 RebelArchitette: An Open Source, One-Year Venture Delivering Female Role Models for the Opening of Venice Biennale 2018 Francesca Perani 638 A Woman Pioneer in Archaeology and Conservation in Turkey: Halet Çambel Pelin Bolca and Derya Karadağ 647 Cre-Action for Cultural Heritage: The Project of a World-Wide Focus on Architecture at Risk Conceived by a Professional Woman Michela Mezzano 651 Studi d’Artista: From Contemporary to the Future Stefania Dassi 521 Un Día una Arquitecta: Three Years of Activism Towards Inclusion Daniela Arias Laurino and Inés Moisset 531 Ingenio al Femminile Ania Lopez 535 Four to Forty: Evolution in Three Decades since 1983 Amina Qayyum Mirza 546 South American Foreign and Female Professionals: Reflections on an Unknown Contribution through Specialised South American Journals, 1929–1965 José Carlos Huapaya Espinoza, Clara Demettino Castro Vasconcelos, Nedda Maria A. Noel Tapia, Priscila Monique Da Silva Santos and Sabrina Rachel Rubio Chapter E: Women’s Achievements and Professional Attainments: Moving Boundaries 661 Women’s Achievements and Professional Attainments: Moving Boundaries Maria Helena Souto Annex Capturing the Intangible Caterina Tiazzoldi 555 The Educating New Taste in Interior Designing by Iranian Women’s Magazines 1910–1952 Golnaz Mashreghi and Hassan Bolkhari 669 560 Gender Issues in ‘Casabella’ by Vittorio Gregotti (1982–1996) Marco Francesco Pippione and Gian Nicola Ricci 680 Going for Gold: Looking at the Gender Imbalance of Recipients of Major Architectural Awards and Prizes Liz Walder 687 Woman Architect Grete Lihotzky Alfons Puigarnau A Counter-Itinerary: Intersecting Histories and Geographies Marjan Groot 697 German-Speaking Refugee Women Architects before the Second World War Tanja Poppelreuter Annex Contemporary Architecture Leading the Way: The Guiding Architects Network Cristina Emília Silva 706 Chandigarh’s Urmila Eulie Chowdhury: The Grand Dame of Modern Architecture in India Deepika Gandhi 718 Artists of the Thread between the Thirties and the Sixties, from Artistic Craftsmanship to Industry: Two Exemplary Cases Anita Pittoni and Fede Cheti Anna Mazzanti and Chiara Lecce 732 Women in the Industrial Design Research Center – CIDI, Buenos Aires (1963–1988) Silvia Fernández Chapter D: Women and Cultural Tourism 569 593 599 Off the Beaten Tracks: British Female Travellers and the Consumption of the Italian Alpine Territory Irene Gaddo 742 Blurring Boundaries Working in Asia as Architect and Interior Designer Lorena Alessio 752 761 791 798 802 803 813 865 Two Women Architects and Eight People’s House Projects: Leman Tomsu and Münevver Belen, 1934–1938 Nilüfer Baturayoğlu Yöney and Burak Asiliskender Arts & Innovation ‘Inevitable Touch’ Milène Guermont 874 Women Pioneers in the Modern Movement: The Methodology of Elizabeth Denby, Carmen Portinho, Margarete Schütte-Lihotzky and Catherine Bauer Marcela Marques Abla Chapter F: Women and Sustainability 884 Designing the Growth: Planners of Belgrade Housing Jelica Jovanović 891 Studying the Building Envelope through the Works of Two Indian Architects Kirat Kaur Pandher 899 Learning from Suburbia: Dolores Hayden and Her Forward-Looking Proposal for a More Egalitarian Urbanism Serafina Amoroso 908 Underground Women: Invisible Female Architects of the Moscow Metro Anna Misharina 917 The Feminine Sensibility in the Project of the ‘Sustainable’ Place Marcella Tisi 926 Lina Bo and the Aqueduct of Cars Cláudia Costa Cabral 933 A Capital before Brasilia: The Modern City of Carmen Portinho Silvana Rubino Women and Sustainability Marjan Groot Annex Extroverted Infrastructure: Too Big to Hide Andrea Leers and Jane Weinzapfel Recoloured: A New Way of Recycling Jessica den Hartog Living Light Studio Ermi van Oers Exploring the Roots of Slow Design: Christien Meindertsma’s Return to Craft Haley Bernier Pioneer Women in Sustainable Modernism Architecture: Materiality of Architectural Forms Nataliya Lushnikova 820 Fantastic Four Females: The Superheroes Hidden behind the Cape. Bisquert, Fossatti-Bellani, Kanstinger and Macintosh Virginia De Jorge Huertas 829 The Role of Women Creatives in the Construction of a New Dutch Sustainable Identity Marker Katherine Monica Marciniak Chapter G: Women ‘as Subjects’: Documentation, Methodology, Interpretation and Enhancement 943 835 Cutting Edges: Ada Tolla, LOT-EK and Resistant Equipment from Naples to New York Annette Condello 844 Materials and Local Architecture: Best Practices for a Resilient World Chiara Pasut 854 Empowering Vulnerable Women by Participatory Design Workshops Cristian Campagnaro and Sara Ceraolo 973 985 Women ‘as Subjects’: Documentation, Methodology, Interpretation and Enhancement Caterina Franchini and Emilia Garda Annex Collecting & Linking Creative Culture of Women: Women Designers and Women Clients for another History Rosa Tamborrino Intersectional and Transnational Feminist Histories: The Logic behind The Bloomsbury Global Encyclopedia of Women in Architecture 1960–2015 (Forthcoming 2021) Lori Brown and Karen Burns 994 1006 1015 1025 1035 Women in Architecture Initiative in Serbia: The Importance of Promoting Women’s Work in Architecture Milena Zindović ‘Io Donna Torinese, Falsa e Cortese’ Teresa Sapey Chapter SG: Design Drawings 1133 Design Drawings Roberta Spallone and Marco Vitali 1153 Annex Two Design Drawings Makers: Lina Bo (Bardi) and Ray Kaiser (Eames) Fermina Garrido López and Mara Sánchez Llorens 1163 The Design of Educational Buildings in Portugal: A Feminine Contribution in the Sixties Alexandra Alegre, Maria Bacharel and Ana Fernandes Graphic Analysis of the Project Kina by Teresa Żarnowerówna, 1926 Starlight Vattano 1175 Foreign Women in Italian Architecture and Art during the Fascism Anna Vyazemtseva Women in Architecture: From Sources of Inspiration to Protagonists on the Architectural Scene Rossana Netti 1185 A Visible, Digital and Useful Future for Drawings and Designs Ana Peral The Role of Female Architects in Designing Schools in Belgrade (1918–1941) Vladana Putnik Prica 1046 Stefania Filo Speziale and Her Long Overlooked-Legacy to Twentieth Century Italian Architecture Chiara Ingrosso and Aurora Maria Riviezzo 1056 Women as Design Partners: First Founded Husband and Wife Partnerships in Modern Turkish Architecture Zeynep İrem Küreğibüyük 1066 Pioneer Architects: The Open Source Catalogue Architectuul Boštjan Bugarič 1073 Female Design and Architectural Archives in Italy: A Preliminary Investigation among Online Search Tools Maria Teresa Feraboli 1082 Making (Hi)Stories of Women in Scottish Architecture Suzanne Ewing 1092 Women Architects in Polish Feature Film of the 1960s Adam Nadolny 1103 Sophisticated Professional Life and Archive of Mualla Eyüboğlu-Anhegger Ceylan İrem Gençer and Işıl Çokuğraş 1110 The Marta Lonzi Archive: Subjectivity in the Creative Process Raffaella Poletti 1119 Building Genealogies, Learning from Feminism: Women as Designers and Planners Claudia Mattogno Chapter A: Women’s Education and Training: National and International Mappings Serena Belotti Sapienza University of Rome, Department of History of Architecture, Restoration and Conservation of Architectural Heritage | Italy Monica Prencipe Marche Polytechnic University, Department of Civil Engineering and Architecture | Italy Ana Riciputo Sapienza University of Rome, Department of Architecture and Design |Italy Last but not least, Giovannoni’s progressive program was open also to women since its first year, though consistently later if compared to the European panorama. 5 Sapienti Romane: Pioneers and Heirs at the Faculty of Architecture in Rome A short outline of the Pioneers at the Faculty of Architecture in Rome (1920s – 1960s) In 2019, Italian architects will officially celebrate their first 100th anniversary of existence. Of course, the origin of the profession is far more ancient, but it is a fact that the law which signed the first fundamental ‘milestone’ in the country, on how to educate the modern architect, was the Regio Decreto Per l’Istituzione in Roma di una Scuola Superiore di Architettura, ratified at the end of October 1919. 1 This new institution of the capital city was the result of more than sixty years of harsh debates between the supporters of the Schools of Belle Arti, the Polytechnic schools, the School of Engineering and the Superior Schools of Applied Arts. 2 In order to express the interdisciplinary nature of the profession, Gustavo Giovannoni (1873–1947) had created the term architetto integrale, 3 which inspired the didactic programs of the first 4 modern School of Architecture ‘La Sapienza’, opened in Rome in that same 1919. 1 R.D.2593/1919. In 1935 the Scuola Superiore di Architettura became the Royal University of Architecture. On this first phase of the University see Giorgio Simoncini, “Gustavo Giovannoni e la Scuola Superiore di Architettura di Roma (1920–1935),” La Facoltà di Architettura dell’Università di Roma “La Sapienza” dalle origini al duemila: Discipline, docenti, studenti, edited by Vittorio Franchetti Pardo (Rome: Gangemi, 2001), 45–53. 2 The questions on the education of architecture started in 1859, after that the Law ‘Casati’ created the first ‘Applied Schools for Engineers’. Specifically related to the area of Rome, is the essay: Barbara Berta, “Il dibattito sulla formazione della figura professionale dell’architetto e la nascita della Scuola Superiore di Architettura di Roma,” L’Archivio storico dell’ordine degli architetti PPC di Roma e provincia: 1926–1956 edited by Letizia Mancuso (Rome: Prospettive edizioni, 2015), 32–40. 3 For a brief explanation of the term, see the fundamental text by Gustavo Giovannoni, “L’architetto e i suoi compiti,” Gustavo Giovannoni: Dal Capitello alla città, edited by Guido Zucconi (Milan: Jaca book, 1997), 127–150. 4 In 1920, the School was located in the Royal School of Belle Arti in Via di Ripetta, and, from 1932, it moved to the area of Valle Giulia, in a building designed by the architect and professor Enrico Del Debbio (1891–1973). MoMoWo 128 In this sense, this short essay is a first attempt to present a general outline of different female generations graduated at the Roman Faculty, from the ‘pioneers’ to the modern ‘heirs’, these last ones heard trough their own words, thanks to a series of direct interviews. 6 Already in 1920,7 the first woman to enrol the Italian Faculty of Architecture in Rome was Elena Luzzatto Valentini (1900–1983), 8 followed few years later by Anna Gabrielli (1903–1980), 9 both included in the Milan V Triennale in 1933, respectively with a project of housing and a social center. 10 In the 1930s, relevant graduated females were Maria Emma Calandra (1912–2004) in 1934,11 Valeria Caravacci (1915)12 –one of the first Olivetti’s designers– in 1937, and in 1939 a young Achillina Bo (1914–1992), later internationally known as Lina Bo Bardi. (Tab.1) 5 The first European woman architect is considered to be Signe Hornborg (1862–1916), graduated in Helsinki in 1890 as an extra-student, decades before the first Italian female architect, Elena Luzzatto Valentini, in 1925. See Caterina Franchini, “Women Pioneers in Civil Engineering and Architecture in Italy: Emma Strada and Ada Bursi,” Women Designers, Craftswomen, Architects and Engineers between 1918 and 1945, edited by Marjan Groot, Helena Seražin, Caterina Franchini and Emilia Garda (Ljubljana: Založba ZRC, 2017), 84, https://omp.zrc-sazu.si/ zalozba-zrc/catalog/view/2/1/63-1 (accessed June 7, 2018). 6 The architects and teachers, graduated at the Faculty of Architecture in Rome, which had given kindly their contributions to this essay, are: Maristella Casciato (b. 1950), Giovanna De Sanctis Ricciardone (b. 1939), Maria Grazia Filetici (b. 1956), Gaia Remiddi (b. 1938), Margherita Guccione (b. 1953), Guendalina Salimei (b. 1962) and Laura Thermes (b. 1943). 7 Before the opening of the Faculty we should mention the role of –at least– other three names: Plautilla Bricci (1616– 1696), Attilia Vaglieri (1891–1969) and Maria Teresa Parpagliolo (1903–1974). Plautilla worked in the seventeenth century for the Barberini family as both painter and architect; Attilia had a degree in Belle Arti and she worked for most of her life behind the name of her husband Umberto. Last but not least, Maria Teresa Parpagliolo can be considered the first Italian woman landscape architect, who had a brilliant career in Italy as well as in England. 8 Monica Prencipe, “Elena Luzzatto Valentini, the First Italian Woman Architect: Towards a Biography,” Women Designers, Architects and Engineers between 1946 and 1968, edited by Helena Seražin, Katarina Mohar, Caterina Franchini and Emilia Garda (Ljubljana: Založba ZRC, 2017), forthcoming. 9 Luigi Vagnetti and Graziella Dall’Osteria, La Facoltà di Architettura di Roma nel suo trentacinquesimo anno di vita: Anno accademico 1954–55 (Rome: Facoltà di Architettura, 1955), 204. 10 Triennale di Milano: Catalogo Ufficiale 1933 (Milan: Triennale, 1933), 234, 236. 11 Maria Calandra, among other experiences, became general secretary of the APAO founded in 1945. Maristella Casciato, “Chi semina ricordi raccoglie storie,” Controspazio 2 (March-April 2001), 24–31; Paola Barbera and Maria Giuffrè, Archivi di architetti e ingegneri in Sicilia 1915–1945 (Palermo: Caracol, 2011), 78–9. 12 Augusta Lupinacci, Maria Letizia Mancuso and Tiziana Silvani, 50 anni di professione 1940–1990 (Rome: Kappa, 1992), 15–18, 72. MoMoWo 129 Women’s Creativity since the Modern Movement: Toward a New Perception and Reception However, if the private practice seems to be a lonely and extremely difficult ground for women architects, peculiar ‘fields’ for female emancipation in Rome were certainly the progressive journals: for example the brief polemic publication A Cultura della vita (1945–46), leaded between Rome and Milan by Bruno Zevi and Lina Bo, was suddenly closed due to the publication of the first Italian article on female contraception. 13 In 1945, it was founded the magazine Metron, in close contact with the member of the APAO (Associazione per l’Architettura Organica) and with the aim to take the Italian architectural debate on an international level. Since the beginning, Metron’s secretary was Margherita Roesler Franz (1915–1974), graduated in architecture in 1940 and married to the Italian architect Cino Calcaprina. In 1952, Metron published another young graduated female: Marinella Ottolenghi, with a reportage of her trip in the United States, with masterpieces by Mies Van der Rohe and Frank Lloyd Wright.14 Even inside the university, in 1950 the percentage of graduated women passed from less than 4% to 14%, with names like Uga De Plaisant (1917–2004), Diambra De Sanctis (1921–2008) and Vittoria Calzolari (1924–2017), who will all become the first female teachers of the Faculty, after the harsh demonstrations of the 1960s. (Tab.2) The 1960s represented in fact a radical turning point: after the 1963 American students’ revolution, also the Roman ones asked for a new openness to modernity, with a series of strikes and occupations of the faculty. The students not only criticized conservative methods of older teachers like Vincenzo Fasolo and Saverio Muratori, but also politically contested them: even a master like Adalberto Libera (1903– 1963) was dismissed because of his regime affiliation, overshadowing the certain value of his works. In this sense, the first nominees of new professors like Bruno Zevi, Ludovico Quaroni and Luigi Piccinato aimed to settle down the students’ contestations, which, on the other hand, did not end at all. Instead, the fights reached their climax in 1968, with the famous ‘Battle of Valle Giulia’ on March 1: an harsh clash between the police and the Students of Architecture. This event could be considered 13 Il Biologo, “Introduzione di un’etica sessuale per il controllo delle nascite,” A Cultura della vita 9 (June 1946). Another reason for the sudden closure was of course the low number of sales. Roberto Dulio, Introduzione a Bruno Zevi (Bari: Laterza, 2008), 63. 14 Marinella Ottolenghi, “Istantanee da un viaggio negli U.S.A.,” Metron 47 (1952), 15–21. MoMoWo 130 Chapter A: Women’s Education and Training: National and International Mappings not only the most violent moment of the history of the Faculty, but it also sealed the beginning of the 1968 revolutions throughout Italy. 15 In this sense, the Roman Faculty was certainly, between the 1950s and the 1970s, the Italian cradle of the most advanced cultural motions, including women’s movements. In fact, already in 1968, the female teacher Diambra De Sanctis (1921–2008), was the first woman called to teach “Caratteri distributivi degli edifici,” then moved to a “Design Course” in 1972 with her younger colleagues Luisa Anversa (b.1926)16 and Paola Coppola d’Anna (1927–2009).17 They were soon followed by other relevant names (Tab.5), almost completely unkown by Italian historiography, like Vittoria Calzolari (1924–2017)18 in the field of Landscape and Urban Planning, and Hilda Selem who, after a training period in Sweden with Sven Markelius,19 came back to Rome and she taught ‘Interior design’ for almost twenty years. Modern Heirs at the Faculty (1960s – 1990s) (Tab.3) Among the students of the early 1960s, we have the testimony of Giovanna De Sanctis Ricciardone 15 After the faculty had been the site of numerous political initiatives in February 1968 (resolved with its student’s occupation), on February 29 the building had been evacuated and guarded by the police. On March 1, about 4,000 people gathered in Piazza di Spagna, directed to Valle Giulia with the intention of resuming the occupation of the faculty. When they arrived there, the students found an imposing police cordon, and during the confrontation that followed, the violence increased in a sort of short ‘civil war’, leaving almost 330 people injured, raising the involvement of intellectuals like Pierpaolo Pasolini and Paolo Pietrangeli. See also Fernanda De Maio, “Il Sessantotto è cominciato a Valle Giulia,” Comunità Italia Architettura-Città-Paesaggio 1945–2000, edited by Alberto Ferlenga and Marco Biraghi (Milan: SilvanaEditoriale, 2015), 87–90. 16 Elisabetta Reale, Daniela Pesce and Margherita Guccione (eds.), Guida agli archivi di architettura a Roma e nel Lazio (Rome: Gangemi editore, 2008), 113; Vittorio Franchetti Pardo (ed.), La Facoltà di Architettura dell’Università di Roma, 587. Short biographies on both Diambra De Sanctis and Luisa Anversa are included in Maria Letizia Mancuson and Gruppo CESARCH (eds.), 50 anni di professione, Vol. 3 (Formello: Edigraf, 2004). 17 She wrote a small retrospective of her educational role within the Roman Faculty in Paola Coppola Pignatelli, “La sfida dipartimentale. Identità e contribute del Dipartimento di Progettazione Architettonica e Urbana (1980–1990),” in Franchetti pardo (ed.), La Facoltà di Architettura, 543–562. 18 In 2012, a special selection of Calzolari’s writings was published in: Alfonso, Alvarez Mora (ed.), Paesistica/Paisaje (Valladolid: Universidad de Valladolid, 2012). After a visiting fellowship at the Harvard University, she was among the Italian protagonist of the debate on the city and the territory as a ‘living space’. A brief biography was presented in: Cristina Renzoni, “Verde per la città. Vittoria Calzolari e la via italiana all’urban design” (paper presented at the VII Congresso della Società Italiana delle storiche,Pisa, Italy, February 2–4, 2017). 19 Monica Prencipe, “Building Exchanges (1895–1953): International Exhibitions and Swedish Resonances in Italian Modern Architecture” (PhD dissertation, UNIVPM, 2018), 250. MoMoWo 131 Women’s Creativity since the Modern Movement: Toward a New Perception and Reception (b. 1939) 20 and Laura Thermes (b. 1943), 21 who represent two different architectural education experiences and, once graduated, different professional choices and careers. The first –the only female member of the 1963 post-revolution courses– was a militant feminist who denounced women subaltern condition in the ‘architectural duo’ 22 as unacceptable; the second one was not politically active and she did not join any feminist associations due to her catholic conservative background. They had decided for their independence in two opposite ways: Giovanna De Sanctis Ricciardone left the ‘art of building’ definitively, while Laura Thermes divided her career between teaching and professional experiences, often in partnership with her mate Franco Purini, in which she distinguished her creative contribution in order to preserve her own theoretical identity. 23 She affirmed: among my students, women were the most affected by existential problems, like getting married or having a family, leaving behind studying or working. … Perhaps because of my strong personality, I felt less the gender gap while working with my husband, whom I appreciate the architectural thought above all and with which I would have worked the same even if we were not married.24 20 In 1974 Giovanna De Sanctis Ricciardone became part of the self-managed cultural association Il Politecnico, thanks to this experience, she became involved with feminists and artists, leaving Architecture for good. She consolidated her role of archi-artist by dedicating hersel to the urban art, above all sculpture and installations. Remarkable are Fossils, via delle Chiese Rome 1998; Ophelia, via Sabatini, Rome 1999; Source, Piazza San Francesco, Terni 2000; Nike, installation in Piazza della Memoria near the New Palace of Justice, Palermo 2001; Stele, via Trionfale, Rome 2004. 21 In 1966 Laura Thermes settled her own studio with her life-partner Franco Purini, in which she continues to work until today, building architectures whose dimensions and urban-iconic importance turns them into landmarks, as the Eurosky Tower and the Metro Station Jonio in Rome 22 The ‘architectural duo’ was an established socio-professional device in which, within the group, the ‘creative part’ was considered to be the man, while the female figure was often considered a simple ‘collaborator’. For this reason, in some of them, the need for women’s professional and intellectual independence manifested itself through not always trade-offs choices. Anna Riciputo, “Beyond Architecture: Politics, Feminism and Art as a Way of Life: The Work of Giovanna de Sanctis Ricciardone” (paper presented at the 3rd MoMoWo International ConferenceWorkshop Women Designers, Architects and Engineers between 1969 and 1989, Oviedo, Spain, October 2–4, 2017). 23 Laura Thermes after teaching in Rome, has been professor of Architectural Composition at the Faculty of Architecture in Reggio Calabria since 1989, where she started a research focused on the restoration of the Mediterranean landscape. She also briefly became a teacher at Valle Giulia in 1992 and in 2009 she became a member of the Accademia di San Luca. The partnership between Laura Thermes and Franco Purini started in 1966 with the setting up of the Purini Thermes Office, marked by an intense experimental activity on urban planning, on the relationship between architecture and landscape, about the fertile and inescapable relation between architecture and drawing. Their approach has its roots in the Roman school of Arts and Architecture, while their observation fields spans across the whole world, leading them to design some of the most interesting projects since the 1970s. Margherita Guccione (ed.), MAXXI Architettura: Catalogue of Collections (Rome; Macerata: Quodlibet, 2017), 118. 24 Laura Thermes, Interview with Serena Belotti and Anna Riciputo (Rome, February 3, 2018). MoMoWo 132 Chapter A: Women’s Education and Training: National and International Mappings In the same direction, it was the work of another famous Roman ‘couple’: Gaia Remiddi (b. 1938) 25 and Paolo Angeletti. In her interview, she recalled the example of one of the most important duo in the modern history of architecture: Many were my masters, but my architectural “father” was Alvar Aalto, although I soon discovered how good was his wife Aino Marsio, and later was my example in the research of architecture and behavior. She was the rational one, while Alvar was more formalist…26 After the 1968 demonstrations, the situation inside the faculty changed, even for women. Maristella Casciato (b. 1950),27 Getty Research Institute’s Senior Curator of Architectural Collections from 2016, enrolled in the Faculty in that same 1968, living the general ‘climate change’: Among the students the political collectives were strongly operative … contributing to make the gender gap less pronounced than in the previous years. There were also few female teachers, sensitively involved in the political debate, who represented a significant presence in the Faculty.28 In the same way, Maria Grazia Filetici (b. 1956), 29 enrolled in the Faculty in 1976 and awarded in 2017 by Europa Nostra, also noted a gender balance within the university. At the same time, she recalled the role of students associations in the organization of international conferences with exceptional women, such as Che Guevara’s sister on the New Urban development 25 Gaia Remiddi graduated in 1967 and she was one of the founders of the Metamorph group in Rome. After this experience, she mainly worked in collaboration with her husband in their Studio architetti Paolo Angeletti & Gaia Remiddi. Besides their researches on Nordic Architecture, they have also realized important buildings, like the Aquino Town Hall (1981), the Picasso Museum in Guernica (1981), the restoration of the Finnish Embassy in Italy (1989–91) and the Law Faculty in Camerino (1986–2016). 26 Gaia Remiddi, Interview with Monica Prencipe (Rome, February 2, 2018). 27 Maristella Casciato, architectural historian, graduated with Ludovico Quaroni in 1974. She was awarded a Fulbright Fellowship (1992), and a Visiting Professorship at the Institut national d’histoire d’art in Paris (2004). She has been Visiting Lecturer at Harvard University’s Graduate School of Design, at the MIT Department of Architecture (from 1988 to 1995), and at Cornell University’s Rome Program. From 2011 to 2016, she has been the former associate director of research at the Canadian Centre for Architecture. 28 Maristella Casciato, Interview with Monica Prencipe (Ancona, Los Angeles, January 27, 2018). Female names in the Faculty were the mentioned Luisa Anversa, Diambra De Sanctis, Paola Coppola D’Anna, Hilda Selem and Vittoria Calzolari. In her early construction of a ‘women’s debate’, she particularly underlined the role of female ‘collectives’ (which in Italy were first founded in Rome) like the theatre experimental group ‘La Maddalena’. 29 Maria Grazia Filetici graduated in Architectural Composition cum laude in 1985, and she is currently an architect of MiBACT (Ministry of Cultural Heritage). From 2013 to 2016 she was president of ARCo, and she was Professor of Restoration in Italian and foreign universities. Methodological, experimental and innovative rigor characterize her numerous projects. Her approach is based on a strong holistic method, in which the traditional construction is understood through the structural re-reading of the building, combining with modern improvement interventions. In the restoration of ancient heritage, she is curating themes like ‘structural anastylosis’, gap integration, new projects addition in ancient contexts, new ways of intervention for overcoming architectural barriers. She had won the Europa Nostra Award 2017 and the Italian Heritage Award 2013; she obtained three World Monuments Fund nominations for three Roman sites: the Temple of Hercules, the Temple of Portuno and the Arch of Janus. MoMoWo 133 Women’s Creativity since the Modern Movement: Toward a New Perception and Reception in Cuba, 30 as a testimony of the growing attention to women’s views in the academic world. Finally overcoming the phenomenon of the ‘architectural duo’, both Filetici and Casciato reclaimed that women’s approach to Architecture is (or should in some ways) be different from his male counterpart: it is usually more inclusive and open to eventual ‘doubts’. As a matter of fact, another contemporary issue is no longer the need to define an identity within the couple, but rather to find richness in the mutual differences. Differences also explained by the MAXXI director Margherita Guccione (b. 1953),31 when she talked about the masters that she had met during her career. She said: During my professional career, I have recognized many teachers ...., for example Zaha Hadid (1950–2016), with whom I had an ongoing confrontation during the MAXXI project and I was very impressed by her determination, by her firmness and by the way she was able to carry on her ideas with coherence and integrity, without ever giving up ... . Then I have met figures like Lina Bo Bardi, or Cini Boeri (b. 1924), from Milan, and, for these two architects, their female characters seemed to be an added value, an ability to look simultaneously at both scales, the highest and also the closest. Therefore, I think that feminine sensitivity can be considered an additional sense, thanks to the all- female ability to hold together all the different parts of the world. From the 1980s, the need for professional affirmation and to become a significant factor in the advancement of the discipline, has led to the Roman University a continuously increasing number of students and, consequently, women who have chosen a career inside the University as a parallel, if not preferential, path to the profession. 30 Maria Grazia Filetici, Interview with Serena Belotti (Rome, January 13, 2018). 31 The architect Margherita Guccione is the director of MAXXI (Museum of Modern and Contemporary Architecture). From 2000, she supervised, on behalf of the Ministry of Cultural Heritage, the design and realisation of the MAXXI building designed by Zaha Hadid and she was the scientific head of the new-born Museum of Architecture, during which she hosted several exhibitions on female architects like Lina Bo Bardi (2014–5) and Zaha Hadid (2017). She has undertaken intensive institutional and research activities, regarding the conservation and valorisation of the ancient and contemporary architectural heritage. She is a MiBACT member of the technical-scientific national committee for ‘Architectural and Urban Quality’ and for ‘Contemporary Arts’ and of the Committee for the valorisation of the work of Carlo Scarpa. She has directed the DARC contemporary architecture service (2002–9) and she was also nominated Superintendent of Caserta and Benevento (2000–1). MoMoWo 134 Chapter A: Women’s Education and Training: National and International Mappings For example Guendalina Salimei, 32 a young researcher and an uprising name in the profession, said: I attended the faculty in Rome during the 1980s and 1990s. I may affirm that there was no great discrimination against women. I come from a family where my mother played an important role, feminist and convinced supporter of the role of women, she instilled us the idea of equality between roles, and I have always remained it. This also coincided with the presence of some female professors in the Faculty of Architecture: I think about Luisa Anversa, Rossana Battistacci, Marta Calzolaretti, Paola Coppola Pignatelli, Gaia Remiddi, Laura Thermes, even the oldest who would soon be retired: Laura Borroni. … I then had the opportunity to do the thesis with Luisa Anversa. I must say that the discrimination and the difficulty for women to undertake this profession, purely masculine, were revealed to me much later, when I began to think and to pay attention to the problem. Little by little, I was seeing less and less women at the work tables, women were often absent from meetings. It is only during some of these situations that I began to focus on the problem and to understand that the figure of the woman architect was quite rare and that often, in the so-called the “architectural couple,” it is always the man to be the spokesman and the one recognized as such.33 Some Conclusions After 1920 and until the beginning of the Second World War, graduated female at the Faculty of Architecture in Rome can be essentially considered isolated cases, and only in 1950 their percentage arrived close to 24%. As average, between 1921 and 1954, every one hundred graduated architects only five were female, and, to them, any position within the faculty seemed to be definitely precluded, in favour to subaltern positions within public institutions, magazines or, more frequently, within an architectural ‘duo’. 32 Guendalina Salimei (1962) graduated in 1990 at the Faculty of Architecture ‘La Sapienza’, and in 1992 she founded the ‘T studio’ together with Roberto Grio, Giancarlo Fantilli, Giovanni Pogliani and Mariagusta Mainiero. She is a researcher at the Department of Architecture and Project (DiAP) of the Faculty of Architecture ‘Sapienza’ in Rome, where she teaches architectural and urban planning. The research and the professional activity, always strongly linked, have found a specific field of interest in the investigation of the complex relationships established between the design process and the possibile intervention, both in the built and natural environment. She places emphasis on the criteria of sustainability and on the control of the urban and extra-urban landscape, even in conditions of extreme risk or discomfort, producing in-depth studies mainly aimed at investigating connections, and developments in the urban project and the strategic role they have, some abandoned and degraded areas, in the urban context. 33 Guendalina Salimei, Interview with Anna Riciputo (Rome, March 7, 2018). MoMoWo 135 Women’s Creativity since the Modern Movement: Toward a New Perception and Reception Chapter A: Women’s Education and Training: National and International Mappings In the two decades that followed the 1968 re-organization of the Faculty, the number of female students rapidly increased and its board started to include few important women, who had found in education a profitable field of activity, without completely abandoning the profession. These key figures, represented important examples for the following generations like Maria Grazia Filetici and Guendalina Salimei, and, after 2000, the trend of female graduated students, compared to his male counterpart, was definitely inverted. (Tab. 4) Although the access to the Faculty of Architecture had finally reached equality, evident issues –as reported by Laura Thermes and Guendalina Salimei– are still the female access to the profession and the struggles for women (but even better for the society) to find a balance between the private and the public sphere. Moreover, if we look back to the ‘histories’ of Modern Architecture written since the beginning of the twentieth century, we can easily verify that women had made their entrance in the ‘official’ manuals only in the last decades, or they are still largely excluded. However, as recently affirmed by Maristella Casciato in the volume dedicated to another Roman female architect, 34 the question should not be merely related to a generic (and maybe politicallycorrect) need to include more women into our histories, but instead their inclusion could be a critic chance to question the mental structure –the ‘canon’– of official historiography. This one in fact, is not only (for the most part) written by men, but it is also written according to ‘masculine principles’, including only icons, monument and highly significant buildings, often created in close cooperation with a dedicated propaganda (through the work national institutions, magazines, exhibitions, etc.), through channels from which women have often been excluded in the past. Tab.1. Number of graduated students by gender at the Faculty of Architecture in Rome (1921–1944) Source: Luigi Vagnetti and Graziella Dall’Osteria, La Facoltà di Architettura di Roma nel suo trentacinquesimo anno di vita: anno accademico 1954-55 (Rome: Facoltà di Architettura, 1955). In this sense, to ‘nominate, to find a genealogy and to trace less known portraits’35 of women in Architecture, it is not only a chance to enrich female consciousness, but it could also be a way to overcome some of the limits of Western criticism, hopefully from a new and original point of view. 34 Maristella Casciato, “Una storia tira l’altra,” L’architettura necessaria di Laura Gallucci, edited by Irene de Guttry and Liquori Cristina (Macerata: Quodlibet, 2015), 15–24. 35 Claudia Mattogno, “Declinare femminismo e architettura,” L’architettura necessaria, 169. MoMoWo 136 Tab.2. Number of graduated students by gender at the Faculty of Architecture in Rome (1946–1954) Source: Luigi Vagnetti and Graziella Dall’Osteria, La Facoltà di Architettura di Roma nel suo trentacinquesimo anno di vita: anno accademico 1954-55 (Rome: Facoltà di Architettura, 1955). MoMoWo 137 Women’s Creativity since the Modern Movement: Toward a New Perception and Reception Chapter A: Women’s Education and Training: National and International Mappings Name Diambra Gatti de Sanctis Luisa Anversa Ferretti Tab.3. Number of graduated students by gender at the Faculty of Architecture in Rome (1961–1999) Source: Centro InfoSapienza Course Year Caratteri distributivi Elementi di Architettura II Composizione III Composizione I Composizione V Composizione IV Progettazione I Progettazione II Composizione III Composizione IV Composizione I Composizione V Progettazione III Progettazione g. strutturale Progettazione II Composizione II Composizione I Composizione III Progettazione I Progettazione II Paola Coppola D’Anna Pignatelli Hilda Selem Arangio Ruiz Arredamento 1972/73/74/75; 79/80 1975/76/77 1978/79 81/82/83/84/85 1985/86/87/88/89/90 1990/91/9293/94/95 1974/75/76/77/78/79/80/81/82/83/84/85/ 86/87/88/89/90/91/91/93/94/95 Composizione I 1991/92 Progettazione II 1993/94 Gaia Remiddi Laura Thermes Progettazione I 1992/93/94 Progettazione II 1994/95 Barbara Cacciapuoti Progettazione II 1993/94/95 Maria Pia Arredi Caratteri distributivi 1993/94/95 Franca Bossalino Caratteri distributivi 1993/94/95 Arredamento 1994/95 Adelaide Regazzoni Caniggia Rosanna Battistacci Composizione II 1994/95 M.Beatrice Remiddi Progettazione I 1994/95 Carla Tagliaferri MoMoWo 138 1972/73/74; 1976/77 1974/75; 1980/81 1975/76; 1977/78 1978/79/80 81/82/83/84/85 1985/86/87 1987/88/89/90/91 1992/93/94/95 Composizione II 1986/87/88/89/90/91; 1992/93 Progettazione I 1994/95 Marta Calzolaretti Tab.4. Number of graduated students by gender at the Faculty of Architecture in Rome (1961–2017) Source: Centro InfoSapienza 1968/69/70 1970/71/72 1972-73/74/75; 1976-77; 1980/81 1978/76; 1977/78 1978/79 1980/81/82/83/84/85 1985/86/87 1987/88/90/91 . Progettazione I 1994/95 Tab.5. List of the female teachers for the composition courses (1920-21/1994-95) Source: Vittorio Franchetti Pardo (ed.), La Facoltà di Architettura dell’Università di Roma “La Sapienza” dalle origini al duemila: discipline, docenti, studenti (Rome: Gangemi, 2001), 586–594. MoMoWo 139