Thematische Bibliographien / Feminism and architecture

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Auswahl der wissenschaftlichen Literatur zum Thema „Feminism and architecture“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 30. Juli 2024

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Zeitschriftenartikel zum Thema "Feminism and architecture"

Haqsaleh, Afied Dien, und Ashadi Ashadi. „STUDY OF FEMINISM ARCHITECTURE CONCEPT IN MUSEUM BUILDING "THE SOLOMON R GUGGENHEIM MUSEUM IN AMERICA US"“. Journal of Development and Integrated Engineering 1, Nr. 1 (29.06.2021): 13–30. http://dx.doi.org/10.17509/jodie.v1i1.34217.

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Abstract: A study of the concept of feminist architecture in the Solomon R Guggenheim Museum building. In the past, an understanding held by society regarding sex differences between men and women affected control, where women were not given freedom, power and rights completely different from men who could do anything and be anything. In the world of architecture, feminism is present as part of post-modern architecture because of the saturation of modern buildings that occur. studies the concept of Feminist Architecture at the Solomon R Guggenheim Museum in New York, America, which is considered to have approached the principles of feminist architecture in its buildings and the method to be used is descriptive qualitative. The author needs to do research on the concept of Feminism Architecture in order to know its true characteristics. From the research results, it is concluded that the case study of the building that has been studied is the Feminist Architecture approach and applies it and among them is having the form of a building that resembles the shape of items used by women, the shape of the building has arches reflecting the woman's body, there is a division of space as a divider between women and men, as well as the use of colors in buildings or interiors that match the preferences of women. Keywords: Architecture, Architecture Feminism, Feminism, Solomon R Guggenheim Museum, Women.

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Coleman, Debra, Elizabeth Danze, Carol Henderson und Courtney Mercer. „Architecture and Feminism“. Journal of Aesthetics and Art Criticism 57, Nr. 4 (1999): 483. http://dx.doi.org/10.2307/432164.

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Cintya, Siti Rahmah, und Dina Fatimah. „THE CONCEPT OF FEMINISM IN THE INTERIOR SPACE OF WOMEN SPECIAL FITNESS CENTERS“. Proceeding of International Conference on Business, Economics, Social Sciences, and Humanities 7, Nr. 1 (01.07.2024): 788–95. http://dx.doi.org/10.34010/icobest.v7i.591.

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The purpose of this research is to review the concept of feminist architecture in fitness facilities specifically for women. Women's fitness or gyms facilities are becoming increasingly relevant in the era of health and fitness awareness, women's gyms are facilities that provide fitness services that are tailored to the needs and preferences of women. The study reviewed the concept of feminism in women's fitness facilities. The research methods used are qualitative methods with descriptive analysis approaches, with data collection techniques through observations, interviews, and literature studies. Therefore, through this research will be presented findings that show that women's fitness facilities have some characteristics of feminism architecture, among others the clear distribution of space between private and public spaces, fine and unrigid architectural punches by playing curved fields, the use of colors and ornaments that depict the feministic nature of femininity, as well as the provision of facilities that support the comfort and safety of women

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Hills, H. „Feminism, Architecture, and the Poor Rich Man“. Oxford Art Journal 21, Nr. 2 (01.01.1998): 194–99. http://dx.doi.org/10.1093/oxartj/21.2.194.

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Mattogno, Claudia. „Feminism and architecture: origins and evolution from reflection to design practice“. Scienze del Territorio 11, Nr. 1 (27.11.2023): 42–50. http://dx.doi.org/10.36253/sdt-14483.

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Combining feminism and architecture means understanding and designing the spaces we inhabit through a gender perspective capable of overturning stereotypes and clichés, unfortunately still widespread despite the research developed by many feminist scholars. These have initiated a new historical perspective that has changed the methodologies of analysis, bringing out many women who were left in the shadows. Recomposing memories to build gender genealogies and elaborating theoretical reflections to give substance to feminist approaches have been the two most recurring approaches, to which a third line of reflections and practices is being added, more recently, related to the design approach. The article briefly retraces some emblematic figures of recent history and then dwells on contemporary projects in which, finally, women are key actors in imagining, proposing, and creating an inclusive city that knows how to take charge of everyone’s needs, but also desires, at an intergenerational and intersectional level. Alongside the work of memory, the elaboration of a knowledge that is not neutral, but positioned on our being women, enables implementation practices that shape and give life to new types of space in which it becomes possible to break old dichotomies and gender discriminations.

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Prasetya, Adinda Angel Aulia Dewi, und Elve Oktafiyani. „Teenager’s Resistance to Patriarchy in School: A Feminist Movement Representation on Moxie Film“. Buletin Al-Turas 29, Nr. 2 (13.11.2023): 241–56. http://dx.doi.org/10.15408/bat.v29i2.27500.

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PurposeThis research aimed to reveal the representation of patriarchy in school and teeanger's feminist movement on Moxie film. MethodThis qualitative research study employed a qualitative content analysis as the design of the research. The data from the film were selected, collected and analyzed using representation theory by Stuart Hall and feminism approach.Results/FindingsThe result showed that Moxie represented patriarchy in school by portraying female objectification, represive school regulation against female, patriarchy in student's reading material, male's achievement glorification, and supporting attitue towards patriarchal practices. Since the female students experienced various disadvantages, the film also represented their feminist movement through the publication of anonymous feminist magazine, the action of females speak up in the public, embracing lesbian identities, the action of visual protest symbolism and act of solidarity, the activism on social media, and the action of school vandalismConclusionThe female teenager in Rockport High School resisted patriarchy in school by representing different feminist movements based on their personal experience and understanding of patriarchal practices and feminism

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Burns, Karen. „Ex libris: Archaeologies of Feminism, Architecture and Deconstruction“. Architectural Theory Review 15, Nr. 3 (Dezember 2010): 242–65. http://dx.doi.org/10.1080/13264826.2010.524706.

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Ahrentzen, Sherry. „The Space between the Studs: Feminism and Architecture“. Signs: Journal of Women in Culture and Society 29, Nr. 1 (September 2003): 179–206. http://dx.doi.org/10.1086/375675.

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Faliha, Almira Muthi, und Yeptadian Sari. „Tinjauan Konsep Feminisme Pada Bangunan Natasha Skin Care Bandung Sebagai Pusat Kecantikan“. Journal of Architectural Design and Development 2, Nr. 1 (30.06.2021): 90. http://dx.doi.org/10.37253/jad.v2i1.4368.

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The rapid development of the times makes technology more sophisticated, it makes information and communication sources accepted quickly, because of the role of the internet. Its influence on society can have both good and bad impacts for the continuity of life patterns in social interaction. The bad impact that is often experienced by women is usually a feeling of insecurity in their appearance when interacting socially, this problem makes women have to try to find ways so that they can be confident by looking attractive according to their expectations. Therefore, we need a place of beauty center that applies the concept of feminism architecture with feminine characteristics. The case study that will be discussed in this research is Natasha Skin Care, which is located on Jl. Supratman No. 84 Bandung, while the method used is descriptive qualitative. The results of this study can be said that the Natasha Skin Care building is almost close to the application of the concept of feminist architecture according to several criteria, namely in the selection of materials on the facade, the color of the interior and exterior and a clear division of space between public and private spaces.

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Escobedo, Frida. „‘Architecture is forever unfinished’“. Journal of Visual Culture 20, Nr. 1 (April 2021): 48–59. http://dx.doi.org/10.1177/14704129211000638.

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In this interview, the celebrated Mexican architect Frida Escobedo explains the intricacies of her design practice and her longstanding interests in Minimalism, Mexican Modernism, and the socio-political concerns facing architecture. The interview provides an insightful mid-career look at one of the most creative and compelling architects working in the world today. Escobedo and Gardner engage in a lively discussion that ranges from design theory to feminism in contemporary architecture. The interview was conducted at Harvard University on 12 December 2019.

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Dissertationen zum Thema "Feminism and architecture"

White, Deborah. „Masculine constructions : gender in twentieth-century architectural discourse : 'Gods', 'Gospels' and 'tall tales' in architecture“. Title page, contents and abstract only, 2001. http://web4.library.adelaide.edu.au/theses/09PH/09phw5834.pdf.

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Includes 2 previously published journal articles by the author: Women in architecture: a personal reflection ; and, "Half the sky, but no room of her own", as appendices. Includes bibliographical references (p. 233-251) An examination of some texts influential in the discourse of Australian architecture in the twentieth century. Explores from a feminist standpoint the gendered nature of discourse in contemporary Western architecture from an Australian perspective. The starting point for the thesis was an examination of Australian architectual discourse in search of some explanation for the continuing low numbers of women practitioners in Australia. Hypothesizes that contemporary Western architecture is imbued with a pervasive and dominant masculinity and that this is deeply imbedded in its discursive constructions: the body housed by architecture is assume to be male, the mind which produces architecture is assumed to be masculine. Given the cultural location of Australian architecture as a marginal participant in the wider arena of contemporary Western / international discourses, focuses on writing about two iconic figues in Western architecture; Le Corbusier, of international reknown; and, Glenn Murcutt, of predominantly local significance.

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Petrakis, Lauren M. „Breaking Boundaries: The Empowerment of Women Through Architecture“. University of Cincinnati / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1427898873.

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Tan, Eliza. „Yoshiko Shimada : art, feminism and memory in Japan after 1989“. Thesis, Kingston University, 2016. http://eprints.kingston.ac.uk/37319/.

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This thesis investigates the intersection of art, feminism and postwar memory in Japan through lens of artist Yoshiko Shimada. Coinciding with unprecedented geopolitical shifts occurring in the final thaw of the Cold War, the year 1989 marks a fraught moment in Japan when spectres of the nation's imperialist past and its historical entanglements acquired renewed potency in the wake of Emperor Hirohito's death. Born in 159, Shimada gained international prominence in the 1990s for her critique of the national body, in particular, the relationship between women and the imperial wartime state. Her work, which unapologetically confronts Japan's WWII aggressions in Asia, its wider histories of occupation, and issues such as the fiercely contested legacies of former 'comfort women' vitally reflects on the social role and agency of art and artist in a climate of political unease emergent at Showa's close. Based on extensive interviews with the artist and research into her primary archive, this is the first comprehensive survey chronicling Shimad;s twenty-five year oeuvre. It situates her practice between two vectors: feminism in Japan and its engagement with Western scholarship, and traces the 1990s 'feminist turn' led by art historians such as Chino Kaori, who began to champion the application of gender perspectives in the study of Japanese art. Within the wider Asian region, the concurrent development of transnational women's art' networks, exhibitions and publications dovetailed with the burgeoning of performance art was protest. As one of the most outspoken feminist art activists of her generation, Shimada has borne key witness to the changing cultural conditions informing women artists' organised activities and the writing of their social histories. This interdisciplinary study incorporates a range of perspectives drawn from art history and gender studies, film and performance theory, memory and trauma studies, Japanese studies and cross-cultural scholarship. It highlights the formal and conceptual interactions between printmaking, performance, installation and lens-based media in Shimada's practice, and demonstrates the plural ways in which her reflexive aesthetics and visual strategies express the tensions and complexities characterising processes of remembering, forgetting and representing the past. By interweaving arguments about the crucial role of feminism in challenging dominant narratives of nation, race, sex and ethnicity, with critical perspectives central to discourse on postmodern Japan, questions are raised concerning the implications of gender, tradition and popular culture for art produced in this age of anxiety. The recent proliferation of problem-oriented, politically engaged practices following the 2011 Great East Japan earthquake and tsunami marks an ostensible 'return to the social' and departure from privileged tropes of 'Japaneseness' in artistic experimentation. Taking this into account, this thesis proposes that revisiting the recent history of feminist art interventions reveals valuable insights into the role of art in understanding and addressing trauma, and engaging marginalised histories and communities. This is exemplified by Shimada's work, which offers a powerful vantage point from which to contemplate art's political inflections, its social potential and the urgency of memory work both in Japan, and in our contemporary societies today.

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Dahlquist, Kirsten Lee. „Women and Architecture: Re-Making Shelter Through Woven Tectonics“. Scholar Commons, 2010. https://scholarcommons.usf.edu/etd/1606.

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Weaving and architecture, conceived simultaneously with cave paintings, are two ancient forms of craft used to enclose space and provide shelter harmoniously with nature. In its basic composition, a useable textile is the interlacing of two members, warp and weft, at right angles to create structure and surface respectively. Textile artist Anni Albers of the Bauhaus attributes the organization of weaving to the skills of an ancient goddess. Her understanding of prehistoric cultures further links women closer to the overall creation of structure, though perceived as a masculine endeavor. Consequently, early advancements in architecture, the structural organization of shelter, are a result of feminine inventions. Moreover, it has been the female who has been entrusted with emotional and sensual elements of shelter since prehistory. Through the creation of a home, woman’s mastery of the domestic realm strengthened and led to gender-defining ideologies. Suburban typologies of the post-war United States heightened the feminine domestic role through social and environmental isolation of the gender. The suburbs ironically conditioned an alternative sentiment of the built environment featuring ideals of tradition, sustenance, and continuity with nature. In the modern era, weaving and architecture have devolved to be similarly designed and chosen for aesthetic qualities only. Textiles are produced for an indoor existence with weaving traditions unchanged and innovation seen in synthetic fibers. Modern shelter is chosen and constructed using inefficient practices popularized in the 1950s, with advancements only in materiality. Both disciplines overlook their feminine link and mutual advantages of protection, flexibility, user connection, tactile engagement, and environmental impact. As a result of this disregard, the capacity of the planet suffers due to outdated and unsustainable residential building practices, while quality of life degrades due to the inabilities of built spaces to nurture and engage inhabitants effectively. Based on eco-maternalist philosophies within architecture and the structural, spatial, and tactile qualities of weaving, these crafts can again interlock into a modern, efficient construction of shelter. The time has come to rethink building design and the feminine integration of weaver and architect provides a foundation for the discovery of an appropriate assembly for the next generation.

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Pepchinski, Mary. „Feminist space : exhibitions and discourses between Philadelphia and Berlin 1865-1912 /“. Weimar : VDG, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=016250710&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.

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Davis, Mary McPherson. „Feminist Applepieville architecture as social reform in Charlotte Perkins Gilman's fiction /“. Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/5071.

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Thesis (M.A.)--University of Missouri-Columbia, 2007.
The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on October 25, 2007) Includes bibliographical references.

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Johansson, Linnea. „Are you shitting me? : Public toilets as a feminist issue“. Thesis, Umeå universitet, Arkitekthögskolan vid Umeå universitet, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-171769.

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Women cannot exist in public space without public toilets, yet it can be difficult to find any that feel clean and safe to go to. That is why I propose to build public toilets for women on Renmarkstorget in central Umeå. Public toilets are where gender issues are exemplified in a public space and are therefore very politically charged. If we want to build for gender equality, we need to be conscious of who we are building for, how the space reflects our social values, and have a clear vision. Equal floorspace is often assigned to men’s and women’s toilets. But women need more floor space in toilets, due to menstruation, bringing children, sitting down to pee etc. This leads to longer toilet queues for the ladies’ room, and consequently, women stay shorter periods of time in public or even avoid it. This especially affects girls, elderly women, disabled women, homeless women, mothers, and pregnant women. The solutions include changing building regulations, architects acting on the issue, and of course electing more women on the city council who can speak on this issue from experience. This proposal includes 7 freestanding structural toilet units, a lunchroom, a playground, bicycle parking, and a bus stop. Because what happens outside the toilet is most important. Those activities need to overlap with the needs of women and enable them to feel seen but not exposed or observed and allow them to have control of their environment. Equality is about voice and therefore architects need to be conscious of how physical, virtual, and social environments either encourage, discourage, include, or exclude those voices by design.

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Wheeler, Andrea Susan. „With place love begins : the philosophy of Luce Irigaray, the issue of dwelling, feminism and architecure“. Thesis, University of Nottingham, 2005. http://eprints.nottingham.ac.uk/11386/.

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The question of dwelling, how, where, in what way and in what manner describes a crisis in many professional women's lives especially when living in pursuit of equality becomes dissatisfying and the demands of traditional stereotypes unappealing. Books such as Desiring Practices (1995) demonstrate the need for some sort of shared expression and community to resolve the career frustrations of working academics in traditionally male dominated environments. Documents such as Why Women Leave Practice? (2003) record what is seen as a very real difficulty for the Institution. The important aspect of Irigaray's work for these debates, however, is how she has already begun to unravel the problems women face in contemporary societies. For architects concerned with diversity, her work is an incitement to reformulate this question by thinking how we can positively approach sexual difference as the basis for approaching all other differences. For feminists, Irigaray's philosophy also presents the possibility of a practice (albeit a practice profoundly reconsidered) beyond a simple desire for equality with men but nevertheless, without denying the problem of a culture of discrimination within the profession. Furthermore, for theorists concerned with how we approach the other, the hidden, or the devalued within our discourses her work is motive to take further these theories towards a more radical poetic or artistic practice. The question of dwelling as a reconsideration of coexistence, co-habitation and co-belonging, as relation rethought, extends the problem of the intimate to address issues of the architectural.

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Bonnevier, Katarina. „Behind Straight Curtains : Towards a queer feminist theory of architecture“. Doctoral thesis, Stockholm : School of Architecture, Royal Institute of Technology : Axl Books, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-4295.

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Upton, Taylour M. „The Un-site: by Black Women, for Black Women“. University of Cincinnati / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1584001344654082.

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Bücher zum Thema "Feminism and architecture"

1959-, Coleman Debra, Danze Elizabeth 1956-, Henderson Carol 1962- und Yale University. School of Architecture., Hrsg. Architecture and feminism. New York: Princeton Architectural Press, 1996.

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Rendell, Jane. Gender Space Architecture. London: Taylor & Francis Group Plc, 2004.

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Rendell, Jane. Gender Space Architecture. London: Taylor & Francis Inc, 2004.

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Vysoká škola uměleckoprůmyslová v Praze. Moderní žena - architektka: Projekce a realita ve střední Evropě od roku 1900 = Modern Woman - Architect : projection and reality in Central Europe since 1900. Praha: UMPRUM, 2021.

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Gretsch, Sarah. Myra Warhaftig - Architektin und Bauforscherin: Wissenschaftliches Symposium in Erinnerung an die Architektin und Bauforscherin Myra Wahrhaftig (1930-2008) : 17.-18. Mai 2018 in Berlin. Berlin: Universitätsverlag der TU Berlin, 2020.

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1967-, Rendell Jane, Penner Barbara 1970- und Borden Iain, Hrsg. Gender space architecture: An interdisciplinary introduction. London: E & FN Spon, 2000.

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Barūmand, Marz̤īyah Bahrāmī. Dīgarī dar andarūnī: Vākāvī-i faz̤ā-yi jinsīyatī. Tihrān: Intishārāt-i Tīsā, 2016.

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Lobell, Mimi. Spatial archetypes: The hidden patterns of psyche and civilization. United States: JXJ Publications, 2018.

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Bonnevier, Katarina. Behind straight curtains: Towards a queer feminist theory of architecture / [Katarina Bonnevier]. Stockholm: Axl Books, 2007.

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1967-, Rendell Jane, Penner Barbara 1970- und Borden Iain, Hrsg. Gender space architecture: An interdisciplinary introduction. London: Taylor & Francis, 2000.

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Buchteile zum Thema "Feminism and architecture"

Merrett, Andrea J. „Feminism and Architecture“. In Histories of Architecture Education in the United States, 132–44. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003272052-13.

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Doyle, Shelby. „A Carrier Bag of Tools for Computational Feminism“. In Homing the Machine in Architecture, 238–51. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003296522-19.

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Lefebvre, Pauline. „The Introduction of Pragmatism in Architecture (1990–2010)—The Role of Women and the Fate of Feminism“. In Women in the History of Philosophy and Sciences, 213–23. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-00921-1_17.

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Rendell, Jane. „Feminist Architectural Figurations“. In The Contested Territory of Architectural Theory, 216–28. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003292999-18.

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Burns, Karen, und Justine Clark. „Feminism, activism, public scholarship“. In Non-Standard Architectural Productions, 170–88. New York : Routledge, 2020.: Routledge, 2019. http://dx.doi.org/10.4324/9781351208079-10.

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Surla, Stacy Merrill. „Toward a Feminist Information Architecture“. In Advances in Information Architecture, 231–39. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-63205-2_21.

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Friedman, Alice T., und Nora Wendl. „Feminist Architectural History 2.0“. In Women and Architectural History, 131–51. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003224662-12.

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Rendell, Jane. „A Way with Words: Feminists Writing Architectural Design Research“. In Design Research in Architecture, 117–36. London: Routledge, 2021. http://dx.doi.org/10.4324/9781315258126-7.

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Amoo-Adare, Epifania Akosua. „Feminist Positionality: Renegade Architecture in a Certain Ambiguity“. In Spatial Literacy, 7–27. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137281074_2.

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Arnold, Dana. „Refracting Feminine Subjectivities Through Space, Time, and Architectural History“. In Women and Architectural History, 23–41. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003224662-4.

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Konferenzberichte zum Thema "Feminism and architecture"

Daemmrich, Chris. „Freedom and the Politics of Space: Contemporary Social Movements and Possibilities for Antiracist, Feminist Practice in U.S. Architecture“. In Schools of Thought Conference. University of Oklahoma, 2020. http://dx.doi.org/10.15763/11244/335076.

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Students and practitioners of architecture challenge the hegemonic Whiteness, maleness, cisheteronormativity, and capitalist control of these disciplines as a means of democratizing and decolonizing practice to create conditions for Black self-determination. This paper considers how architectural professionals have responded to contemporary movements for social justice in the United States and the ways in which some are more and some less successful at addressing the intersecting nature of identity-based oppressions. Organizations and convenings, including the National Organization of Minority Architects (NOMA), Black in Design, the Design Futures Public Interest Design Student Leadership Forum, Equity by Design, and the Architecture Lobby are considered from 2012 to the pre-pandemic spring of 2020, with a focus on the emergence of new spaces and shifts in how existing spaces engage with activist movements as a result of changing political conditions. The paper provides historical background and constructive critique. It concludes with recommendations for creating institutions that respond proactively, rather than reactively, to racist violence, sexual harassment, assault, and exploitation, and for making lasting meaning of these injustices when they occur. The roles Black people and other people of color, particularly women, have played, and the roles White people, particularly men, and White institutions must play in creating an antiracist, feminist architecture are a focus of this paper.

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Scientific Committee, EAAE-ARCC-IC. „EAAE-ARCC International Conference & 2nd VIBRArch: The architect and the city. Vol. 2“. In EAAE-ARCC International Conference & 2nd VIBRArch. Valencia: Editorial Universitat Politècnica de València, 2020. http://dx.doi.org/10.4995/eaae-arcc-ic.2020.13832.

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Contemporary thinking regarding architecture is nowadays rather dispersed. But most authors totally agree in the characteristics of the modern subject who inhabits it. This subject is rational, employs several logics and language resources, has articulated complex societies and organizational structures and has created cities to meet and grow. This anthropological relation between architecture and city has gone through different stages in recent times. In the first half of the twentieth century, cities took the initiative by means of their experts as a direct extension of a society which was questioning many aspects of obedience. However, the second half of the twentieth century was marked by a more acquiescent temper, with profitability and productivity in the foreground. As a result, their remarkable growing often has blurred them, habitational products are not connected with social subjects and development initiative is taken by productive sectors. Facing this situation, architecture has recently made a move and has retaken the initiative leaded by a third revisionist generation which employs different cultural variables such as alterity, applied sociology or social activism. Debates on sustainability, landscape, environment, new documentary frameworks and mapping processes, have set the place for new reflections on: limits, borders, traces, surroundings-city interaction, compact or diffuse cities, and many more. Along with such a themed view new topics such as revisiting the rural, have emerged. This third way has collaterally connected with new parameters derived from committed activism such as cooperation, development, third world, urban overcrowdings, residual fabrics, refugee camps, and others which have incorporated new material and strategic discourses on recycling, crowdfunding or low-cost. The profusion of divisions of the problem has characterized a time of fragmented tests, with a noticeable loss of general perspective and where the architects’ responsibility about the cities has again broken through but in a fairly hesitant and slow way. Against this background, a fourth and contemporary and critical generation is characterized by the cohesion of speeches, positions and approaches. With an inclusive, transversal and revisionist nature, incorporates and revisits concepts such as feminism, gender, childhood, shelter, migration, wealth, transversality, glocality, interculturality, multiculturality and many more. Hence, we nowadays face the challenge of refounding the concept of city for the future generations, subjected to the duality of the inherited city and its expansion, to the duality of what is consigned and what is missing. The 2020 edition of the EAAE-ARCC International Conference to be held in Valencia, Spain, along with the 2nd edition of the Valencia International Biennial of Research in Architecture will welcome keynote speakers and papers that explore the future of cities and the regained leading role that architects should have in its design.

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French, Anda, und Jenny French. „Constructing Commonality: Autoethnography in Architectural Pedagogy and Practice“. In 112th ACSA Annual Meeting. ACSA Press, 2024. http://dx.doi.org/10.35483/acsa.am.112.60.

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Autoethnography challenges positivistic research methodologies and assumptions of researcher neutrality. It embraces uncertainty, messiness, and emotion, and has the potential to acknowledge the interconnectedness of architecture with social, economic, and political realities. Drawing from Elizabeth Ettorre’s Autoethnography as Feminist Practice: Sensitizing the Feminist “I”, this paper suggests that through autoethnographic processes, architects can resist the urge to quantify and categorize, and instead embrace the narrative- building potential of personal revelations and vulnerability.The paper acknowledges the safety and familiarity that static roles provide but argues that these roles hinder progress. It emphasizes the importance of dismantling the myth of the singular genius and instead advocates for an understanding of architecture as a collaborative endeavor. By being reflexive about their shifting status and relational positions, architects and architectural educators can create space for diverse voices and expertise to contribute to the design and production process.Drawing on examples from contemporary architectural practices, and adjacent fields, such as product design and cultural geography, the paper demonstrates the potential power of autoethnography. It emphasizes the importance of situated perspectives, connecting personal experiences to larger social contexts. Prompted by Etorre, by occupying the space of the “in-between” and acknowledging the “personal is political,” architects can foster connection, empathy, and collective meaning-making.Autoethnography serves as a device for architects to occupy the space of an “inside-outsider,” enabling the exploration of alternative practice and pedagogical models. By engaging in self-reflection, architects can cultivate mutual empathy and construct shared narratives, ultimately redefining the role of the architect in collaborative processes, unlocking new possibilities for collaboration, and transforming the understanding of authorship.

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Gardiner, Fiona. „Yes, You Can Be an Architect and a Woman!’ Women in Architecture: Queensland 1982-1989“. In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a4001phps8.

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From the 1970s social and political changes in Australia and the burgeoning feminist movement were challenging established power relationships and hierarchies. This paper explores how in the 1980s groups of women architects actively took positions that were outside the established professional mainstream. A 1982 seminar at the University of Queensland galvanised women in Brisbane to form the Association of Women Architects, Town Planners and Landscape Architects. Formally founded the association was multi-disciplinary and not affiliated with the established bodies. Its aims included promoting women and working to reform the practice of these professions. While predominately made up of architects, the group never became part of the Royal Australian Institutes of Architects, it did inject itself into its activities, spectacularly sponsoring the Indian architect Revathi Kamath to speak at the 1984 RAIA. For five years the group was active organising talks, speakers, a newsletter and participating in Architecture Week. In 1984 an exhibition ‘Profile: Women in Architecture’ featured the work of 40 past and present women architects and students, including a profile of Queensland’s then oldest practitioner Beatrice Hutton. Sydney architect Eve Laron, the convenor of Constructive Women in Sydney opened the exhibition. There was an active interchange between Women in Architecture in Melbourne, Constructive Women, and the Queensland group, with architects such as Ann Keddie, Suzanne Dance and Barbara van den Broek speaking in Brisbane. While the focus of the group centred around women’s issues such as traditional prejudice, conflicting commitments and retraining, its architectural interests were not those of conventional practice. It explored and promoted the design of cities and buildings that were sensitive to users including women and children, design using natural materials and sustainability. While the group only existed for a short period, it advanced positions and perspectives that were outside the mainstream of architectural discourse and practice. Nearly 40 years on a new generation of women is leading the debate into the structural inequities in the architectural profession which are very similar to those tackled by women architects in the 1980s.

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Harkema, Lindsay. „WIP: Work in Progress | Women in Practice“. In 111th ACSA Annual Meeting Proceedings. ACSA Press, 2023. http://dx.doi.org/10.35483/acsa.am.111.50.

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What happens when independent women designers form a collective practice rooted in co-creation rather than singular authorship? How could feminist values inform and inspire a shared design approach? Which professional conventions should be unlearned in order to foster more mutually supportive spatial practices? The history of feminist practice in architecture offers more than a century of women-led collective initiatives. But their marginalization has prevented feminist values from being normalized in the profession and the built environment at large. Still today, women-led collaborative practices are considered novel. WIP: Work In Progress | Women In Practice is feminist design collective composed of two entities: a supportive community of women design professionals and a collaborative practice shared between individual members. WIP is a work in progress, subject to adaptation by and for its participants. Within the shared practice, WIP Collaborative, team structure and work methods are adjusted to the needs of specific projects, including scope, community and stakeholders, and the interests of WIP members involved. To date WIP has completed a range of projects and events in the public realm that foreground embodied experiences, equity, access, and inclusivity, including public space installations, community focused design research, and collective happenings. Learning from other feminist practices and workers cooperatives past and present, WIP Collaborative is democratically organized so that all participants contribute to its trajectory and creative process. WIP’s projects reimagine public environments by challenging, expanding, and transforming their norms. They explore issues of embodiment – physical, sensory, and emotional experiences of the body – and create environments of choice that support the spatial and experiential preferences of a diverse population. By embracing a plurality of human needs and a co-creative design approach, WIP operates outside the norms of conventional design practice in pursuit of a more vibrant shared future.

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Vallerand, Olivier. „Coalition Building and Discomfort as Pedagogical Strategies“. In Schools of Thought Conference. University of Oklahoma, 2020. http://dx.doi.org/10.15763/11244/335079.

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Innovative design solutions come from inclusive and diverse design teams (Page 2008). In this paper, I reflect on how such insights can be used in developing pedagogical approaches that use coalition building, knowledge translation between disciplines, and pedagogies of discomfort to foreground implicit biases impacting architectural practice and education. Based on interviews with educators thinking about the built environment, as well as Kevin Kumashiro’s (2002) anti-oppressive education framework and Megan Boler’s (1999) notion of a pedagogy of discomfort, and building on examples from queer and feminist educators, I suggest in this paper that the disruptive use of feelings and emotions in architectural education can prepare students for more collaborative and inclusive practices. Such discussions allow students to understand the impact of biases but also to think about tools to acknowledge and challenge inequity in the design of the built environment and in the design professions themselves. Cross-disciplinary collaboration, at both the students and the educators level, can also create opportunities for coalition building, particularly in contexts where a limited number of faculty are explicitly discussing race, gender, disability, class, sexuality, or ethnicity in their teaching. Faculty members with diverse individual self-identifications can multiply their impact by working together to tackle the intersecting ways in which minoritized experiences are pushed aside in mainstream architecture discourses and education. They can also foreground their combined experiences as positive role models to create a constructive learning environment to address these issues, both within universities and directly in the community.

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Malaquias, Thaysa, und Phillipe Costa. „(Un)Folding the Matrix: Reflections on Architecture and Technology by Feminist Collectives at the end of the 20th century“. In XXVII International Conference of the Ibero-American Society of Digital Graphics. São Paulo: Editora Blucher, 2024. http://dx.doi.org/10.5151/sigradi2023-52.

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Rashtian, Hamed, und Gabriela Aceves-Sepulveda. „Same Old Story: Agential Realism in the Study of Colonial Histories“. In 28th International Symposium on Electronic Art. Paris: Ecole des arts decoratifs - PSL, 2024. http://dx.doi.org/10.69564/isea2023-78-full-rashtian-et-al-same-old-story.

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What are the possibilities of accessing the reality of history? How can we read history, and what can we learn from it? In this paper, we contemplate these questions by putting our ongoing research-creation project, Same Old Story (2020-present), in conversation with feminist critiques of objectivity and current discussions on the construction of historical narratives by historians, philosophers and artists, including Antoinette Burton, Andreas Huyssen, Walter Benjamin Walid Raad and Forensic Architecture. Specifically, we elaborate on how Karen Barad's "agential realism" ¹ informs our engagement with colonial histories in Same Old Story and speculate on its broader relevance in research-projects that engage with historical narratives. To do so, we describe the process of creating the current iteration of our project and offer a theoretical framework based on a discussion of three main themes, Archive/ Memory, Architecture and Monument/Counter-Monument. Building from this discussion, we elaborate on how to expand our work further, focusing on the possibilities and limits of revitalizing embodied realities in historical events and learning from them.

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Zarabadi, Ladan. „Appropriation of Space – Perpetuation of Patriarchy: A Feminist Critique on Public Space Design in Iran“. In 108th Annual Meeting Proceedings. ACSA Press, 2020. http://dx.doi.org/10.35483/acsa.am.108.149.

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This research uses a feminist lens to examine Iranian urban public parks designed for use by women only. The purpose of this paper is to reveal translations of patriarchal cultural values from an architectural micro scale to an urban macro scale and question the (over) contextualization of these parks’ design. Although this is a multifaceted topic that also merits ethnographic analysis, this particular paper primarily examines the physicality of the space. I draw on Henri Lefebvre’s theory of production of space, Stephen Graham’s urban militarization, and Jürgen Habermas’s and Nancy Fraser’s views of public spheres to theorize women-only parks’ existence as a hegemonic production of space. I argue that despite the Iranian government’s claim that the purpose of these women- only parks is to provide women a safe and free public space, this type of urban public space actually appropriates the design logic of courtyard houses, materializes patriarchal culture, and perpetuates patriarchal values in an urban configuration. In other words, women-only parks in Iranian cities are an embodiment of patriarchal culture in which gender segregation is used as a strategy to fulfill Islamic values and disguise patriarchal dispositions into a false sense of spatial and gender justice. This qualitative and interdisciplinary research uses a mixed method approach (alternating between formal and discursive analyses as needed) and multiple sources of data. Data collected on-site from women-only parks in Tehran (including photos and videos) serves as the primary source for this analysis. I also use reports from online news agencies and social media, as well as previously published interviews conducted by sociology scholars.

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Flores, José Antonio. „En Femenino“. In Jornadas sobre Innovación Docente en Arquitectura (JIDA). Universitat Politècnica de Catalunya. Iniciativa Digital Politècnica, 2022. http://dx.doi.org/10.5821/jida.2022.11630.

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The presence of women is already the majority in architecture students, with a growing trend for years; not so, for now, in the teaching staff. Architecture, like other disciplines in the Western world, has traditionally been male, but today the classrooms are full of young women who want to be architects. Teaching in architecture schools, despite the abundance of feminist studies, does not generally take into account the gender perspective. The study plans do not provide specific spaces for this matter, which favors the invisibility of women's work in the discipline and does not offer enough non-male references to students. This paper presents a two-year teaching experience that includes the gender perspective in the teaching of History of art and architecture for first-year students. La presencia de mujeres es ya mayoritaria en el estudiantado de arquitectura, con una tendencia creciente desde hace años; no así, por ahora, en el claustro docente. La arquitectura, como otras disciplinas en el mundo occidental, ha sido tradicionalmente masculina, pero hoy las aulas están llenas de chicas que quieren ser arquitectas. La docencia en las escuelas de arquitectura, pese a la abundancia de estudios feministas, no tiene generalmente en cuenta la perspectiva de género. Los planes de estudio no prevén espacios específicos para este asunto, lo que favorece la invisibilidad del trabajo de las mujeres en la disciplina y no ofrece suficientes referentes no masculinos a los/las estudiantes. Esta comunicación presenta una experiencia docente de dos años que incluye la perspectiva de género en la enseñanza de la Historia del arte y de la arquitectura para estudiantes de primer curso.

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