Women in Architecture

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In the mid-twentieth century, a set of South Asian countries collectively experienced a catharsis from colonizers’ rule. The period that followed sparked an era of ideas and philosophies for a new future. During this time, architects were pivotal in creating modernist structures that defined the countries’ post-colonial, post-partition and post-imperial identities. South Asian architects used design as an expression of hopeful societal visions, most of which have been actualized. With this success in nation-building, there has been a lack of accreditation for women architects in shaping South Asian histories. 

What are the stories of the first Ibero-American women architects? This is the main question we seek to answer in celebration of ArchDaily's theme: Women in Architecture.

A few months ago, French architect Renée Gailhoustet was awarded the 2022 Royal Academy Architecture Prize. As housing challenges continue to embattle Paris and other French cities today, Gailhoustet was a timely choice, her body of work in the Paris suburbs – stretching back to the 1960s – still functioning today as compelling case studies to a social housing approach that concurrently embraces community and has a uniqueness of form.

Architecture criticism and journalism are often expected to announce “the good, the bad, and the ugly” in architecture and the built environment. Its purposes go however further than that. As Michael Sorkin put it, “seeing beyond the glittering novelty of form, it is criticism’s role to assess and promote the positive effects architecture can bring to society and the wider world”. In other words, by telling us what they are seeing, critics are also showing us where to look in order to identify and address the issues plaguing our built environment.

On January 21, 1958, three women sat down as contestants for an episode of the popular television show “To Tell the Truth”, a quiz game in which a panel tries to guess which of the three contestants is who they say they are by asking them a series of questions. The announcer reveals the true identity of the person is a registered architect, has so far designed a Hilton hotel, and is a married mother of four. Each of the women, dressed formally in pencil skirts and blouses, introduces themselves as Natalie De Blois. As the panelists reveal their lack of knowledge about architecture, only firing off questions about Frank Lloyd Wright, one asks “What is the name of the building that was torn down to build Union Carbide?” The real Natalie De Blois, at the time a senior designer at SOM, firmly answers, “Hotel Margery.”

Teen girls are neither children nor adults, meaning they have specific needs and behaviours different from both these groups. Unfortunately, like many marginalized groups, these needs and behaviours have not been met or encouraged through our built environment as it has for others. For example, playgrounds are built for children to let off steam and sports courts that foster competition are targeted at men and teen boys. 

“One of the first hits I got when I was googling about female architecture was a high-rise building in Australia, whose architects said that they had been inspired by Beyoncé’s curves when they built it,” exclaimed the Dutch architect Afaina de Jong in her last talk for TEDxAmsterdamWomen in 2021. “I mean, really? Her body? Beyoncé? Of course, she is amazing, but to translate her body literally in a building… Is that female architecture?”, she continued indignantly.

Architecture is human. So when I entered Cornell’s College of Architecture, Art, and Planning in 1973 and the entire faculty were as white and male as I was, it made no sense to me but reflected the end times of the full-on male dominance in my chosen profession. In that world, a few professors would often comment on how female students looked at juries, and some sexually victimized some students (none of whom were male).

The “Women in Architecture “exhibition by the Danish Architecture Center aims to open the conversation about women in architecture and showcase their often overlooked, yet substantial contributions to the field. The historical part of the exhibition celebrates untold stories and forgotten accomplishments of women in Denmark from the 1920s to the 1970s. The exhibition also gives the floor to contemporary architects, asking them to share their experiences as architects in Denmark today. To further explore this position, Tatiana Bilbao Estudio, Siv Helene Stangeland from Helen & Hard , and Ensamble Studio explore the theme of the event inspired by Virginia Woolf’s 1929 essay, “A Room of One’s Own”, in which she asserts that women must be financially independent if they are to be able to create works of significance. They must have a room of their own, in both a physical and metaphorical sense.

With the construction sector getting back into full swing and major upcoming projects being announced, a larger workforce is getting ready to take on these colossal works. Accordingly, on-site presence and inspections are critical and essential to creating good architecture and constitute significant learning instances for architects or engineers looking to build expertise. But despite all these new endeavors that promise new technologies, a more sustainable future, and better ways of living, one old issue prevails the presence of gender discrimination on the construction site. 

This article was originally published on Common Edge.

The Women Bauhaus is a new art collective of five female artists led by mentor Sabine Marcelis, who are taking inspiration from the legacy of women in the Bauhaus movement. The project was commissioned by luxury skincare brand La Prairie as part of its ongoing patronage of the arts. The projects developed are taking inspiration from Bauhaus icons such as textile artists Otti Berger, Benita Koch-Otte, and sculptor, metalsmith, and designer Marianne Brandt. The initiative also hopes to bring attention to the often-overlooked legacy of women who joined the Bauhaus movement, and whose struggles to affirm themselves as artists and designers are rarely recognized.