Women In Architecture

Architect Julia Morgan's trailblazing career and the growth of the California women's movement of the Progressive Era went hand in hand. Over the course of three decades, Morgan designed dozens of buildings for women's organizations in California and beyond before World War II, leaving behind a documentary, spatial, and material record of the changing place of women in society in the early twentieth century.

Die Studie zur „Vereinbarkeit von Architektenberuf und Familie“ beschäftigt sich mit den Fragen, warum es so schwierig ist Architekturberuf und Familie unter einen Hut zu bringen, warum es so wenig Architektinnen in Österreich gibt und welche Strategien und Modele funktionieren, um Beruf und Familie unter einen Hut zu bringen. Hierfür wurden Interviews geführt und Fragebögen ausgewertet und 33 Fallbeispiele von österreichischen ArchitektInnen zusammengetragen. In der nun erschienenen Broschüre kann man anhand von Interviews, Steckbriefen und Strategiemodellen nachlesen wie und unter welchen Umständen ein zufriedenstellendes Familien- und Berufsleben erreicht werden kann, beziehungsweise in welchen Bereichen Handlungsbedarf besteht. Expertentexte stellen diese individuellen Erfahrungen auf ein wissenschaftliches Fundament. Fest steht: Berufliche Entscheidungen haben immer Auswirkungen auf das Familienleben und umgekehrt. Man kann solche Entscheidungen dem Zufall überlassen  oder man kann bewusst Entscheidungen fällen, um mehr Zufriedenheit im Zusammenspiel von Beruf und Familie zu erreichen. Die Ergebnisse der Studie sollen bei einer bewussten Entscheidungsfindung helfen und zu einer Sensibilisierung für das Thema der Vereinbarkeit von Beruf und Familie in der Architektur beitragen.

Тази биография на Стефка Георгиева бе публикувана в
Allgemeines Künstlerlexikon (AKL) , Bd. LI (51), 2006, S. 506
и препубликувана от Archinform в интернет - https://deu.archinform.net/arch/99344.htm

This biography of Stefka Georgieliva was published in
Allgemeines Künstlerlexikon (AKL) , Bd. LI (51), 2006, S. 506.
Later it was republished by Archinform in internet -
https://deu.archinform.net/arch/99344.htm

Pascuala Campos de Michelena fue pionera en varios aspectos de la arquitectura gallega. Ella fue la primera arquitecta reconocida por su trabajo profesional, la primera a la que le asignaron una Cátedra en Arquitectura y Diseño Urbano en una universidad española y también pionera en su labor cívica luchando por los derechos de la mujer.

Su vida y su obra son el foco del presente trabajo de investigación. En él, se trata de entender la manera en que logró tener éxito e inspirar a otras generaciones de mujeres que siguieron su ejemplo y dedicaron su vida a la arquitectura, a pesar de un trasfondo de profunda discriminación hacia las mujeres.

Entre 1970 y 2012, varios de los proyectos que desarrolló, ya sea por sí misma o en asociación, han sido referenciados en diversas publicaciones especializadas en arquitectura.El primer artículo que abordó su carrera data de 1993, en el libro Galicia-Arte editado por Rodríguez Iglesias. En el año 2000, Andaina, feminista gallega publicó la entrevista realizada por Berta Rey Wonenburger a la arquitecta. En 2011, fue mencionada en el informe sobre Las mujeres arquitectas de Galicia: su papel en la profesión (el ejercicio de la arquitectura en Galicia desde una perspectiva de género). De los diferentes trabajos publicados, la investigadora que probablemente más artículos ha publicado sobre su obra es Amparo Casares Gallego.

La investigación desarrollada en el Trabajo Fin de Máster "Mujeres Arquitectas y su aportación a la disciplina: Lina Bo Bardi y Pascuala Campos" (Escola Superior Gallaecia, 2019), que abordó los antecedentes sociales y biográficos de estas dos arquitectas y propuso una interpretación de sus producciones teóricas y arquitectónicas, servirá de antecedente para esta ponencia. En ella, se pretende debatir sobre la contribución de Pascuala Campos a la arquitectura gallega, destacando, la vida, la obra y la evolución de su labor profesional en relación con su pensamiento teórico, el cual está enmarcado en las cuestiones de género y su materialización en formas arquitectónicas y urbanas.

El objetivo de este trabajo, tiene tres perspectivas interconectadas relativas a la arquitectura y los estudios de género: 1) la biografía personal y profesional de Pascuala Campos, con el fin de determinar las condiciones a través de las cuales tuvo acceso a la profesión en un período en el que la presencia de arquitectas gallegas era escasa; 2) la integración de la autora en la narrativa histórica de la arquitectura gallega; y 3) el examen de la forma en que la arquitecta visualiza y diseña los espacios arquitectónicos y urbanos, basándose en su producción teórica y el estudio de sus proyectos. Para ello, nos centramos en dos de los proyectos construidos por Pascuala Campos: el Plan y Propuesta para la intervención urbana en Combarro, Poio (1986) y la Escuela de Formación Pesquera, Punta de Niño do Corvo, Arousa (1990).

Pascuala Campos cree que la arquitectura es siempre un proceso de reflexión, en el que la intuición juega un papel decisivo. Solo a través de sus propias emociones e intuiciones, el arquitecto/a puede encontrar una solución para un diseño urbano y/o arquitectónico inclusivo. En Combarro, esta sensibilidad de la arquitecta se puede observar en la forma en que lee las interconexiones entre la agricultura y la cultura pesquera, dos realidades que intentó integrar. Esta cuestión reaparece en la Escuela de Formación Pesquera con una perspectiva diferente sobre la cultura pesquera tradicional gallega, esta vez con la referencia a las ‘salgadeiras’ y ‘conserveiras’ que alguna vez marcaron la imagen de la Isla de Arousa. En ambos proyectos se pretende recuperar el patrimonio olvidado (pasado) y darle una nueva utilidad (elementos icónicos), para que no se pierda la historia del lugar (presente histórico).

Los diseños de Pascuala Campos reflejan su perspectiva de la vida, materializada a través de espacios de paso, encuentro, relaciones, emociones e intimidad y siempre considerando a la comunidad como un todo, sin olvidar las necesidades individuales de sus habitantes. Se consigue vislumbrar que parte de esta actitud se atribuye a los principios que defiende el regionalismo crítico gallego, siendo en este caso el respeto al lugar, su historia y sus tradiciones. Otros solo pueden entenderse desde el punto de vista de una arquitectura construida desde cuestiones ligadas a valores femeninos. Un buen ejemplo en esta actitud es el que podemos observar en la lavandería comunitaria de Combarro, un proyecto que solo puede entenderse a través de su comprensión muy personal del espacio, el género y la comunidad. Valorar la intuición y los sentimientos personales, los espacios de comunidad y la intimidad es una mirada femenina al proyecto arquitectónico, y ello es la seña de identidad de esta arquitecta.

Did women engage in the making of architecture before the nineteenth century? Although most professions requiring specialized knowledge were deemed socially unsuitable for women, women did play active roles in the built environment in Western Europe before the Industrial Age.  Elite and bourgeois women influenced architectural design as patrons and advisors, and women of lesser means were on occasion employed in building-related crafts and construction labor.  Women’s earliest activities as true designers and builders can be linked to the cultural phenomenon of the Renaissance.  The rediscovery of Antiquity was a catalyst that transformed the identity of the architect and opened the traditional building industry to those who were not master builders.  Both men and women began to design and build as artist-architects and as amateurs.  Yet, these women engaged architecture mostly from the margins of the profession.  Nineteenth-century industrialization brought a dynamic change in the nature of work and lifestyles, opening the door for greater numbers of women to work outside the home. The mechanization of the building industry and changing attitudes towards women’s education and work paved the path for women to move slowly from the margins towards the center of specialized knowledge in the craft and profession of architecture in the twentieth century.

Reference site: https://www.taylorfrancis.com/chapters/edit/10.4324/9780429278891-32/breaking-silence-anna-sokolina.
Synopsis:
This chapter reconstructs and reframes latent legacies, delves into the reasons behind the prevalence of women in Russian architecture, and investigates the ways in which their work has been downplayed in the Soviet and Russian contexts. The inquiry is rooted in history informed by the 1917 October Revolution that secured transformative gains for women by putting into place civil laws, in theory declaring gender equality motivated by the vision of social liberation. Pioneering portfolios are highlighted of four largely unknown caryatids of Russian architecture—Lydia Komarova (1902–2002), architect of major university centers, noted scholar, and designer of the spiral skyscraper (1929); Tamara Kovalevskaya (1923–86), architect of primary public structures in the Russian North, educator, and public official; Nina Aleshina (1924–2012), head of the Design Department of the entire metropolitan transit system and architect of nineteen metro stations in Moscow; and Galina Balashova (b. 1931), first architect of spaceship interiors for the Soviet space program and design genius never officially celebrated by Russian authorities. The emphasis is placed on the professional leadership of these remarkable women. This work aims to break the silence around notable female designers: role models who defined built environments across borders.

Friedl Dicker-Brandeis was one of the most dynamic artists of the Bauhaus; a painter, printmaker, avant-garde bookbinder, designer of costumes, jewelry, interiors, and building exteriors, she was the first female architect to sign off on architectural plans for a flat-roofed building in 1922. During the interwar period, she taught children extensively, and it was this aspect of her work that became her calling in Theresienstadt ghetto and concentration camp in 1943. This essay examines Dicker-Brandeis's too-little-known work from the Bauhaus and beyond as well as her amazing story, and it traces the surprising healing power embedded in aspects of the Bauhaus movement and embodied in Dicker-Brandeis. Lastly, the essay explores how Dicker-Brandeis's work lived on through her students after her own death, so that she became one of the foundational teachers of the post-war art therapy movement.

Until recently, men agglutinate to themselves the art of design, build and write about architecture, since the great buildings of the oldest civilisations and the theoretical works as "De Architectura" (Pollio Vitruvius Marcus). Erudite work and knowledge has followed a men discipline, through their lobbies, groups of builders, schools and publications. Behind a long Architecture History conceived and carried out by men, some of them, recognised architects, many women, away from leadership and career opportunities, had enormous infl uence in some of the most interesting spatial changes. Along with the visible male superiority, woman have had a subtle, but surprising role in the evolution of Western Architecture: from the Marquise de Rambouillet (17th century) and Madame Pompadour (18th century) in Paris; Catharine Beecher and Harriet Beecher-Stowe (19th century) in the United States to the more recent women connected to some recognised architects, as in the case of Lilly Reich, of Truus Schröder-Schräder or Eileen Gray. More recently their own activity, architects came to shake a male perpetually. This is the case of Lina Bo Bardi, Zaha Hadid, Kazuyo Sejima that present a varied work in scale, type and functionality. This paper presents some of these women and some of the most important innovations they brought into the world of architecture and space. Its intervention does not follow the same male indole, but introduce some interesting approach peculiarities. For example, interventions denote a tendency towards greater space concerns rather than formal issues or major concerns in comfort and wellbeing rather than rationality and aesthetics issues. Women's silent work in centuries of Architecture History, is worth to recognise and to highlight, specially the diff erences, since they clearly stand out from the mainstream architecture and had huge developments in day-today live that remain until the present.

Heroines of the Space is a brilliant theoretical and historical synthesis that relies on research published in several languages, as well as a great deal of primary research. Her text is a comprehensive effort that stands a chance of truly helping re-write the history of Modern Architecture in the 20th century. It is also feminist scholarship. One third of the book is a theoretical overview of the development of women's roles from traditional societies to the beginning of modernity in Europe. The remaining two thirds are monographic analyses of the work of Eileen Gray, Lilly Reich, Margarete Schütte-Lihotzky and Charlotte Perriand. Though one may think everything there was to be known about them is available; Espegel's analysis reveals new aspects of their work, seen in the context of their contemporaries' production.

The following essay sketches varieties of imagination operative in the best architectural work. It was published in Warehouse Journal, a student-edited journal produced annually by the Faculty of Architecture, University of Manitoba. Student editors for Warehouse 25 were, Alena Rieger and Ally Pereira-Edwards.

BRŮHOVÁ, K. Architecture and Emancipation. The Situation of Women in the Field of Architecture in Socialist Czechoslovakia. In: ROLLOVÁ, V. a JIRKALOVÁ, K. (eds.) The Future Is Hidden in the Present. Prague: Academy of Arts, Architecture and Design, 2021. p. 282–331. ISBN 978-80-88308-053-9.

This publication presents a report on a research project conducted from 2016 to 2018 by Anna P. Sokolina at the International Archive of Women in Architecture (IAWA) facilitated in Special Collections at Virginia Polytechnic Institute and State University Library in Blacksburg, Virginia. The study surveys academic papers authored by Milka T. Bliznakov, PhD, Professor Emerita, the Founder of IAWA, and her legacy continued in the IAWA collection of records of women in Russian architecture. A noted authority on Russian constructivism, a prominent educator, scholar, and architect, Bliznakov established the now world-largest thematic archive facilitated at a major American university to document in global diversity the history of women's contributions to the built environment.
The need for examining Bliznakov’s academic papers, for expanding the chronicles by studying the IAWA records of women who contributed broadly to the field of architecture across continents and illuminating them in talks, books, and educational programs is urgent. New publications informed by the IAWA materials, especially those addressing the writings by Milka Bliznakov discovered during this study, bare an important empowering potential. This project supports the IAWA Mission, bridges the gap between disciplines and cultures, and attracts a variety of new resources to the Archive.

Despite the growing number of women entering profession and practicing architecture in Iran within recent years, still the lack of role model among female architecture students is observable. Given that role models boost self-esteem by countering negative stereotypes that cast doubt on a person’s abilities to perform well in the biased profession,1 the scarcity of female role models in architecture can be profoundly damaging. Mainstream architectural history has failed to include the contribution of women in evaluation of Iran’s modern architecture and as a result, their practice has remained unknown to younger generation. Through their absence from any historiography of Iran’s architecture, there are limited sources of information about this first generation of women architects; either they are known by names or they are linked to buildings, but their involvement remains uncertain. The only scholar regarding women’s endeavour is Sirus Bavar mentioning the practice of these architects through narrating the International Congress of Women Architects (1976) in Ramsar,2 however, referring to projects designed and built in association of women and their co-workers, as the same cliché women’s contributions is omitted. The study of gender as such in Iranian historiography still remains a new frontier. Vanished within the patriarchal structure of Iranian modernity, the instrumental female role in reformulating the life of a modern society has largely been ignored.

Reference site: https://www.routledge.com/The-Routledge-Companion-to-Women-in-Architecture/Sokolina/p/book/9780367232344.
Book preview (57 pages available): https://www.google.com/books/edition/The_Routledge_Companion_to_Women_in_Arch/qhssEAAAQBAJ?hl=en&gbpv=1&printsec=frontcover, https://routledgehandbooks.com/doi/10.4324/9780429278891.
Recognition: Top Ten Titles published by Routledge featured at 2022 CAA Annual Conference: Sokolina, Anna, ed. The Routledge Companion to Women in Architecture (2021) https://caa.confex.com/caa/2022/meetingapp.cgi/Session/10840; and The Nomination for the SAH 2023 Alice Davis Hitchcock Book Award

Description:
The Routledge Companion to Women in Architecture illuminates the names of pioneering women who over time continue to foster, shape, and build cultural, spiritual, and physical environments in diverse regions around the globe. It uncovers the remarkable evolution of women’s leadership, professional perspectives, craftsmanship, and scholarship in architecture from the preindustrial age to the present.　
The book is organized chronologically in five parts, outlining the stages of women’s expanding engagement, leadership, and contributions to architecture through the centuries. It contains twenty-nine chapters written by thirty-three recognized scholars committed to probing broader topographies across time and place and presenting portraits of practicing architects, leaders, teachers, writers, critics, and other kinds of professionals in the built environment. The intertwined research sets out debates, questions, and projects around women in architecture, stimulates broader studies and discussions in emerging areas, and becomes a catalyst for academic programs and future publications on the subject.
The novelty of this volume is in presenting not only a collection of case studies but in broadening the discipline by advancing an incisive overview of the topic as a whole. It is an invaluable resource for architectural historians, academics, students, and professionals.

The Museum of Contemporary Art in Belgrade, joint work by Ivanka  Raspopovic and Ivan Antic, with expressive tectonics, rational geometric form, free plan, and interior that elevated visitors’ responses, set a benchmark for museum buildings design. The first prize on architectural competition held 1959-60 was awarded to team Raspopović and Antić. Museum, opened on October 20, 1965, is located in New Belgrade at the confluence of the Danube and the Sava rivers, facing the Belgrade Fortress.

This article traces the changing perception of the house by the sea in Roquebrune-Cap-Martin known as E1027. Drawn exclusively from land registration and historic preservation records, this archival analysis examines the history of the house designed by Eileen Gray.

Istanbul is a metropolitan city with rich history which have always been attracted to people. As the population of Istanbul dramatically increased over time, the pressure for transformation in the economically and culturally valuable areas like historic neighbourhoods have become more and the conservation challenges suggested for these places have altered. Starting from Tanzimat Period there has been a series of proposals for the expansion of the urban space and parts of the historic city have become stages for the implementation of these changes. Some of these interventions have sadly opened up the way to the loss of continuity in the collective memory of Istanbul’s inhabitants.
Within this perspective this  article initially aims at illustrating the different interventions put into action during 1950-1970s on public scale that had a direct impact on the historic urban fabric, like the construction of Sultanahmet Palace of Justice (1951-1955) and the demolishment of important historical buildings like Simkeshane along Divanyolu. It will then introduce the institutions and actors taking role in these interventions, with a specific focus on 3 women conservation-architects, who worked during 1950-70s in conservation field.
Starting from 1940’s, the names of these three women conservation architects started to be mentioned working alongside with other eminent men conservation experts. Cahide Tamer, one of these three architects was responsible of restorations of Rumeli Fortress, Yedikule and Hagia Sophia Museum. She worked long years in Ancient Monument Conservation Council. Another woman was Mualla Eyuboglu (Anhegger), the first rapporteur of the High Council for Historic Real Estate and Monuments. She was the controller of important restorations such as Siyavuspaşa Kiosk and Sultan Tombs in Hagia Sophia Complex. Her reputation grew larger with the restoration of Harem section in Topkapi Palace during 1960’s. Selma Emler, too, deserves to be mentioned as one of these women conservation experts of the same era. Having started her career at Ministry of Education as a state architect and being keen on historic buildings she was later appointed as the conservation architect in Topkapi Palace Museum. All three wrote long articles and books about their work which shed a light today on the conservation history in Turkey. There is no doubt, they deserve to be remembered as leading figures in Turkey’s conservation history.
This paper will aim to contribute to the studies in Turkish conservation history by introducing three women conservation architects from the same period and recalling their valuable efforts in the field.

The architectural brutalism of socialist Bulgaria has two distinct faces - one for the masses and one for the elite. And they are both best embodied by the work of a stubborn female architect with great command of béton brut, expressive construction and elaborate spaces - Stefka Georgieva (1923 - 2004), one of the most obscure figures serving the communist regime.

Tra le attività di Orientamento e PCTO rivolte agli alunni delle Scuole Secondarie di II grado il DADI propone Seminari a cadenza quindicinale trasmessi su canale YouTube. Gli interventi dei docenti del Dipartimento forniranno contributi interdisciplinari e agili sulle tematiche relative alla vita per il pianeta. A conclusione dei Seminari sarà descritta l’offerta formativa del Dipartimento.

In the history of Serbian architecture, the time of innovation and fundamental restructuring of form begins at the end of the  nineteenth century and reaches full development between the two World Wars. During that period, various sociopolitical factors affected Serbian architecture, creating a framework for deeper insight into distinct aspects of architecture in a broader cultural context. As a case in point, women have been present in the Serbian architectural profession since the beginning of the twentieth century, although the work of many is still not well-known. Some important steps have certainly been taken in order to reconstruct extraordinary lives and careers of a pioneering woman architect.

Filiation, or the sharing of a creative legacy from one generation to another, is more obvious when considering principles specific to architecture. This paper examines how Le Corbusier's legacy was passed down to Reiko Hayama, a pioneering Japanese woman architect who started her career working in Tokyo from 1959 until 1965 for Kunio Maekawa, one of "the Master's" previous collaborators at Rue de Sèvres 35. She then moved to Paris to work for Charlotte Perriand and Jean Prouvé before establishing her own atelier from 1976 until 2013. This article focuses on the active resonances of Le Corbusier's heritage in Hayama's personal practice. Her reflections indicate that Maekawa and Prouvé opened a path to her that was situated apart from Le Corbusier's principles. This path included: an environmental concern ethic, a design process that took cultural context deliberately into account and an architectural form derived from a technological reasoning process. In direct heritage, she assumed the Modulor's legacy itself, an important operative tool in Corbusian methodology. Resumen Filiación, o el compartir de un legado de generación a generación, es más evi-dente al considerar los principios específicos de la arquitectura. Este artículo examina cómo el legado de Le Corbusier fue transmitido a Reiko Hayama, mu-jer japonesa, pionera en arquitectura, y quien desde 1959 a 1965, forjó su carre-ra en Tokio trabajando para Kunio Maekawa, uno de los previos colaboradores "del Maestro" de la Rue de Sèvres 35. Posteriormente, decidió mudarse a París y trabajar para Charlotte Perriand y Jean Prouvé, previo a establecer su propio estudio de trabajo en los años 1976 a 2013. Este artículo se centra en las reper-cusiones del patrimonio de Le Corbusier en la práctica personal de Hayama. Sus reflexiones señalan que Maekawa y Prouvé le dieron paso a un camino que se situaba por fuera de los principios de Le Corbusier, entre los cuales se encuentran: una preocupación ética por el medio ambiente; un proceso en el diseño que deliberadamente tuvo en cuenta un contexto cultural y una forma arquitectónica derivada de un proceso tecnológico de razonamiento. El patri-monio del Modulor fue directamente asumido por Hayama, siendo este una herramienta operativa de suma importancia en la metodología Le Corbusiana.

引言

建築史論家 Mario Carpo所述的「第一次數位轉型」時代， 建築形式被解放，亦帶動營造技術之發展；然而以影像模擬為主導的設計模式，及因技術多樣而複雜化的專業分工，造成創作與生產之間的斷裂加劇，建築設計的人文向度與真實性備受質疑等問題。

「科技是答案，但原來的問題是什麼？」(‘Technology is the answer, but what was the question?’) Cedric Price的經典問句，暗示著「創新」並非來自毫無根據的憑空想像，或缺乏問題意識的盲目追求。

本期「建築相對論」專欄第一部分《「實」擬「虛」境—以材料真實性為主體的典範轉移 》試以運算思維與材料物質性的觀點論述當代建築設計的面向；承接「實擬虛境」的概念，第二部分《必要的冒險—突破邊界的設計研究》則透過訪談Jenny Sabin，Anna Liu與李綠枝三位女性建築師，對照Jenny Sabin Studio, Tokin Liu 與大藏聯合建築師事務所三組長年累積的實驗性作品，探討以人、材料，及環境為本的設計研究，及這類設計方法在實務上成為常態的可能性。