Dissertationen zum Thema „Feminism and architecture“
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1
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.
Annotation:
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.
2
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.
3
Tan, Eliza. „Yoshiko Shimada : art, feminism and memory in Japan after 1989“. Thesis, Kingston University, 2016. http://eprints.kingston.ac.uk/37319/.
Annotation:
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.
4
Dahlquist, Kirsten Lee. „Women and Architecture: Re-Making Shelter Through Woven Tectonics“. Scholar Commons, 2010. https://scholarcommons.usf.edu/etd/1606.
Annotation:
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.
5
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.
6
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.
Annotation:
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.
7
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/.
Annotation:
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.
8
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.
Annotation:
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.
9
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.
10
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.
11
Custodi, Giulia. „Architecture urbaine, Gender Mainstreaming et impact du féminisme“. Thesis, Sorbonne université, 2022. https://accesdistant.sorbonne-universite.fr/login?url=https://theses-intra.sorbonne-universite.fr/2022SORUL100.pdf.
Annotation:
Ce travail de thèse explore les possibilités d’une architecture urbaine attentive aux questions de genre, sous un prisme féministe intersectionnel. Depuis la fin des années 1990, des expérimentations en ce sens ont commencé à devenir de plus en plus nombreuses, à partir de l’exemple pionnier de Vienne, devenue la ville de référence par excellence. Cette thèse s’intéresse particulièrement aux expérimentations parisiennes, tout en gardant une vision comparative avec des projets dans d’autres villes européennes. En tant qu’axes influençant l’architecture urbaine, les politiques publiques et la militance sont aussi explorées, au niveau français et italien. Leur apport met en lumière les potentialités de réinvention symbolique et matérielle de l’architecture urbaine, basculant du système hétéropatriarcal vers plus d’inclusion et de justice spatiale. Les questions de fond de ce travail reposent sur l’influence des théories féministes dans la pratique professionnelle des architectes et urbanistes, sur leur rôle dans la transformation des approches à la ville et à l’urbanisme, ainsi que dans la transformation des esthétiques architecturales et urbaines. À travers une approche méthodologique située, réflexive et interdisciplinaire, issue des disciplines de l’architecture et de l’urbanisme, le travail de terrain effectué a eu l’objectif de rechercher des tendances, des évolutions et des constantes dans les projets d’architecture urbaine genrée. En tenant compte de l’évolution temporelle des mentalités sur le genre, et de la prise de conscience de plus en plus profonde des questions féministes, cette thèse se positionne avec une approche critique vis-à-vis du Gender MainstreamingThis thesis explores the possibilities of a gender-sensitive urban architecture, under an intersectional feminist prism. Since the end of the 1990s, experiments in this direction have begun to become more and more numerous, starting from the pioneering example of Vienna, which has become the city of reference par excellence. This thesis is particularly interested in Parisian experiments, while keeping a comparative vision with projects in other European cities. As axes influencing urban architecture, public policies and activism are also explored, at the French and Italian level. Their contribution highlights the potential for symbolic and material reinvention of urban architecture, shifting from the heteropatriarchal system towards greater inclusion and spatial justice. The basic questions of this work are based on the influence of feminist theories in the professional practice of architects and urban planners, on their role in the transformation of approaches to the city and urban planning, as well as in the transformation of architectural and urban aesthetics. Through a situated, reflexive and interdisciplinary methodological approach, stemming from the disciplines of architecture and urban planning, the fieldwork carried out had the objective of seeking trends, evolutions and constants in the design process of gendered urban architecture. Taking into account the temporal evolution of mentalities on gender, and the increasingly deep awareness of feminist issues, this thesis has critical approach to Gender Mainstreaming
12
Hooper, Elizabeth Anne. „A feminist architecture“. Thesis, Georgia Institute of Technology, 1988. http://hdl.handle.net/1853/23945.
13
Schilling, Andrew A. „Hinged Things: Concerning the Interior(s) of Eileen Gray“. University of Cincinnati / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1092669500.
14
Parslow, Michelle Lisa. „Women, science and technology : the genealogy of women writing utopian science fiction“. Thesis, University of Exeter, 2010. http://hdl.handle.net/10036/3058.
Annotation:
For centuries utopian and science fiction has allowed women to engage with dominant discourses, especially those which have been defined as the “domain” of men. Feminist scholars have often characterized this genealogy as one which begins with the destabilization of Enlightenment ideals of the rational subject in the Romantic Revolution, with the publication of Mary Shelley’s Frankenstein (1818) in particular. This thesis demonstrates that there has in fact been an enduring history of women’s cognitive and rational attempts to explore key discourses such as science, technology and architecture through Reason, as opposed to rage. This is a genealogy of women writing utopian science fiction that is best illuminated through Darko Suvin’s of the novum. Chapter One reveals how the innovative utopian visions of Margaret Cavendish (1626-1673) proffer a highly rational and feminist critique of seventeenth-century experimental science. Chapter Two demonstrates how Sarah Scott’s Millenium Hall (1762) explored the socio-political significance of the monstrous-looking “human” body some fifty years before Shelley’s Frankenstein. Following this, Chapter Three re-reads Frankenstein in light of the early nineteenth century zeitgeist of laissez-faire economics, technological advancement and global imperialism and argues that these were also the concerns of other utopian science fiction works by women, such as Jane Loudon’s The Mummy! (1827). Chapter Four analyses how the function of the novum is integral to L.T. Meade’s (1854-1915) depictions of male/female interaction in the scientific field. Chapter Five considers how important it is to acknowledge the materialist concern with popular science that informs texts such as Joanna Russ’s The Female Man (1975) and Pat Cadigan’s cyberpunk novel Synners (1991). This is the history of how women have used the form of utopian science fiction as a means with which to present a rational female voice. In addition to the historical works by women, it employs a range of utopian and science fiction theory from Suvin and Fredric Jameson to historical and contemporary feminism.
15
Lindström, Anton. „Gardens of Compost“. Thesis, KTH, Arkitektur, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-280187.
Annotation:
An interrogation of architecture's prevailing myths, and a practice for how to live and die well as an architect in the Anthropocene epoch. It is an effort to combine joyful representation and speculation (because architecture is both too serious and not nearly serious enough), with philosophy, for still possible pasts, presents and futures. For this it leans mainly on the ideas of Donna Haraway, Gilles Delueze and Felix Guattari, to present a methodology called Nomad Storytelling. A methodology that aims to move between a multiplicity of adjacent sites as to care for them in appropriate ways, with the intention of contributing to the idea of relationally unmaking the environmental urgencies of the 21th century. It consists of 8 chapters dealing with juridical care, letting be as care, humour and shaming, fabulous speculation, non-quantifiable architecture as dissent and graphic design as a crucial part of remembering what the cost of architecture is beyond the monetary, in the end suggesting the idea of architect-as-worm and compost architecture. It’s about not telling another killer story, because they always end with apocalypse or dystopia, and instead tell stories of gathering and fabulous futures, as Ursula K. Le Guin called it. Because it matters which architectures architect architecture and which lines line lines.
16
Paulin, Theresa M. „Forwarding New Forms in Transitional Housing for Women: Feminist Architecture Creates Potentialities after Partner Abuse“. University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1291408415.
17
Fishwick, Emma. „Choreography as landscape: Landscape discourse framing choreographic practice“. Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2019. https://ro.ecu.edu.au/theses/2466.
Annotation:
At the centre of this research is the notion of landscape and how thinking and talking about landscape impacts choreography. The result of the research is a new work, Dance, Quiet Riot, and an exegesis discussing the process of making it as well an exploration of various art forms, field experiences and the area of cultural geography. I use the development and presentation of Dance, Quiet Riot as a case study or creative artefact, if you will, for how landscape discourse can support and intersect with choreographic practice. This exegetical discussion understands landscape as a relational conversation between the human and non-human, shaping the way one moves through and sees the world. I argue that ideas of landscape can be used as a tool for choreographic practice and propose that this process can be applied effectively to choreography across multiple or singular art forms. Dance, Quiet Riot explores themes of gendered visual materiality and how such ideas (quietly) underpin my way of seeing and moving in the world. These themes are discussed throughout the exegesis, however, they are considered secondary to the focus of the research itself, which is landscape as a tool for choreography. This research asks how might approaching choreography as a type of landscape (symbolic rather than literal) shape how choreography is made, watched and performed.
18
Vaziri, Anita. „Design for intersectionality : Feminism and anti racism approach“. Thesis, KTH, Arkitektur, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-254681.
19
Watlington, Emily. „Pretty gross : aestheticized abjection in feminist video art, 1996-2009“. Thesis, Massachusetts Institute of Technology, 2018. http://hdl.handle.net/1721.1/118496.
Annotation:
Thesis: S.M., Massachusetts Institute of Technology, Department of Architecture, 2018.This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.
Cataloged from student-submitted PDF version of thesis.
Includes bibliographical references (pages 124-135).
This thesis examines the work of three video artists -- Pipilotti Rist, Marilyn Minter, and Mika Rottenberg -- who all make work that is simultaneously mesmerizing and repulsive. While Immanuel Kant has argued that beauty and disgust are opposed, these works complicate this binary, as does my choice of the more minor terms "pretty" and "gross." My weaker descriptors encapsulate the desensitization to seductive and disgusting imagery that, in the media-saturated context of the late 90s/early 2000s, is the result of their pervasiveness and thus banality. These artists respond to abject feminist performance art of the 1960s and 70s, which some critics at the time worried attracted the male gaze while setting out to avert it. Theorists of disgust, however, have long understood seduction as always already part of disgust, which the artists in "Pretty Gross" set out to tool strategically. They respond to representations of women as objects of fascination on screen by borrowing resources and formal devices from mass media created to seduce viewers and consumers, but train their lenses instead on traditionally disgusting imagery, from menstrual blood to saliva-coated caviar. Rendering the disgusting palatable, these artists have attracted massive popular audiences and revenue. Yet all have raised a number of ethical quandaries for their critics, who struggle to defend their attempts to reclaim representations of women's bodies from an abusive history. The widespread visibility and influence of their work makes this critical interrogation especially urgent. Ultimately, I argue that Rist, Minter, and Rottenberg reflect, rather than resolve, tensions between ethics and aesthetics, gender and image, as well as attraction and aversion.
by Emily Watlington.
S.M.
20
Carson, Juli (Juli Christine) 1962. „Excavating discursivity : Post-Partum Document in the conceptualist, feminist and psychoanalytic fields“. Thesis, Massachusetts Institute of Technology, 2000. http://hdl.handle.net/1721.1/9386.
Annotation:
Thesis (Ph.D.)--Massachusetts Institute of Technology, Dept. of Architecture, 2000.Includes bibliographical references (v. 2, leaves 441-473).
Post-Partum Document, a multi - media artwork made by American artist Mary Kelly from 1973- 1978 , was informed by and contributed to contemporaneous debates in the fields of Conceptualism, feminism, and psychoanalysis throughout the seventies. This dissertation addresses the project's "debate - specificity." The conventional art historical categorization and analysis of an artwork, one based upon its medium specificity, was a mode of modernist criticism that Kelly's work specifically interrogated. What therefore distinguished Post-Partum Document from other artworks of its period was an interrogation of the "discursive site," i. e. a specific site of debate grounded within a given discourse. Within the practice of art, Post-Partum Document begs us to think of the discursive site as a displacement of the "material" site. It's "multimedia" status thus indicates the manner in which it simultaneously addressed questions of aesthetics, semiotics, film, psychoanalysis, and activism within the visual field. Previous studies have engaged Post Partum Document primarily as an example of psychoanalytically informed feminist art. My dissertation traces its original debate within the broader history of Conceptualism, feminism, and psychoanalysis in Britain, followed by its American reception in the eighties, at which point PostPartum Document became a model for feminist critical art practice.
by Juli Carson.
Ph.D.
21
VENOY, MELISSA DAWN. „REVALUING GENDER-BASED SYMBOLISM IN ARCHITECTURE“. University of Cincinnati / OhioLINK, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1053382240.
22
Rüst, Annina Julia. „FEMINIZM4ALL : a framework for feminist technology intervention“. Thesis, Massachusetts Institute of Technology, 2008. http://hdl.handle.net/1721.1/46589.
Annotation:
Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2008.Includes bibliographical references (p. 58-60).
This thesis describes a feminist framework for technological interventions. I first define the problem by contrasting studies from psychology with research from other social sciences to determine that the primary reason for the gender imbalance in technological spaces is based in hostile work environments and not in the fact that women are disinterested as recent psychological research claims. This lack of diversity affects how technology products are shaped and how consumers interact with these artefacts. I outline a techno-feminist approach to intervention by looking at legislative and technological interventions into tech workspaces. Because this thesis is concerned with creating a framework for interventions rather than an individual technology, I describe different collaboration and production models typical to contemporary technology. These models are Web 2.0, open source software production, and collaborative platforms for distributing physical technology objects. In order to find out how to build a technological framework for making technology spaces more equitable for women, I created two projects. The first one is a Web 2.0 platform that provides data about gender and the technology workspace as well as instructions for visualizing it. The second one is a collaboration on a feminist technology for the workplace. The conclusion of the thesis is a description of future work based on these two projects.
by Annina Rüst.
S.M.
23
Lincicum, Shirley J. „The American Public Library Building : A Social History and Feminist Critique“. Oberlin College Honors Theses / OhioLINK, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1379332068.
24
Nissen, Anne D. (Anne Dorrit). „From the Cheney House to Taliesin : Frank Lloyd Wright and Feminist Mamah Borthwick“. Thesis, Massachusetts Institute of Technology, 1988. http://hdl.handle.net/1721.1/14731.
Annotation:
Thesis (M.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1988.Bibliography: leaves 168-169.
This thesis seeks to investigate the impact of Frank Lloyd Wright 's contact with feminist theory on his design and his thinking. For, in 1912, Wright and his companion Mamah Borthwick co-translated a book by Swedish feminist Ellen Key into English. I argue that Key's notion of an "organic" system of male-female relationships prompted Wright to redefine his notion of what an organic architecture should be; and, that this shift in understanding led to the birth of Wright's first "natural house," Taliesin, which was built for Wright and Borthwick's life together. Ellen Key believed that the values which she associated with women's childrearing responsibilities -- those of love and empathy -- should be honored above all other societal values. These values were to flow out of the house into the public realm, so that in a world transformed by Key's "sex morality," men would share them, and restructure their actions accordingly. Taliesin 's location in rural Wisconsin made it possible for Wright and Borthwick to construct a private life based on respect for the natural forces of sexuality and nature. Therefore Wright could say that "the house married the hill" on which Taliesin sat. Moreover, I believe that Taliesin's design is governed by Key's empathetic approach -- that of listening rather than imposing. Taliesin is not a hierarchical composition of traditional domestic signs; instead, the relationship of space within the house to space outside it is as important, if not more so, than the actual physical fabric in which Wright rendered his individual design statement.
by Anne D. Nissen.
M.S.
25
Lew, Margaret Elizabeth. „Feminist critique and the Pueblos as textual : an architectural translation of Monique Wittig“. Thesis, Massachusetts Institute of Technology, 1986. http://hdl.handle.net/1721.1/75979.
Annotation:
Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1986.MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH
Includes bibliographical references (p. 118-121).
This thesis poses the question of a feminist architecture that is not based on 'women' per say - their involvement as architects, their difference, or as users - but on the possibilities 1), of the world as perceived, described, invented in feminist theory, and of the facts 2), of the spatial and building systems created by Pueblo women. I have looked to feminist research and critical theory, first, to expand its critique of gender, (as a cultural not a biological construct), to include architecture; secondly, to find suggestions and characteristics of alternative constructions. The pueblos provide an architectural text, an example of the kinds of places women make when they are the ones to shape the built environment. Both address in their respective ways questions about the relationship between public and private, between 'units', and how boundaries are characterized and transgressed. Drawing on both, I make a schematic design that suggests the architectural qualities that could result from these principles. The thesis follows in principle one general feminist methodology: The 'peeling away of the layers' of cultural assumption and determinism through the analysis of remains, remnants, and fragments whether archaeological, linguistic, etc.; Finally, the critique becomes invention and transformation. The task is to find in theory (feminist); artifact (the pueblos); and experiment (the fictional writing of Wittig) - themes, elements, and attitudes which can have spatial, perceptual, and, thus, architectural significance. A portion of the thesis rests on what I have construed to be some aspects of feminisms' affinity with the complex structuring and observational methods of Maurice Smith's form language and with the spirit of user participation and intervention in John Habraken's thematic design methodology. My assumption is that feminism can help expand and enrich the theoretical foundation of that work. And vice versa - that it can introduce theories of form and organization into the feminist critique of architecture.
by Margaret Elizabeth Lew.
M.Arch.
26
Alvarez, Isidro Eva María. „Women in architecture. 1975, 2015“. Doctoral thesis, Universitat Politècnica de València, 2016. http://hdl.handle.net/10251/63278.
Annotation:
[EN] The aims of the present work are to document the context and the content of the copy of August, 1975 of Architectural Design, Women in Architecture and to see the sense and validity of a re-edition or equivalent edition 40 years later. The temporary lapse of the study focuses, basically, about the year 1975 and, about 2015.
The resultant study consists of the following parts:
Context:
a) Study of context in the 70s where it is checked both the social and economic environment and the architectural one, especially regarding to women and architecture.
b) Articles that explain the incorporation of the gender perspective to architecture and to urbanism.
The magazine Architectural Design 8/1975, Women in Architecture:
c) A detailed study of the magazine like an object in itself.
d) A critical review of some works of architecture produced by women architects that contributed to the magazine of 1975.
A review of the International Seminar Women in Architecture in Valencia: a description of the debate held in Valencia and of the result of the same one, and the same for the international Seminar in London.
Considerations for a new edition, today.
Conclusions
In addition, annexes with conversations with protagonists of the magazine are provided[ES] Los objetivos del presente trabajo son documentar el contexto y el contenido del ejemplar de agosto de 1975 de Architectural Design, Women in Architecture y ver el sentido y vigencia de una re-edición o edición equivalente 40 años después. El ámbito temporal del estudio se sitúa, básicamente, alrededor del año 1975 y, en lo necesario, alrededor de 2015. El estudio resultante consta de las siguientes partes: Contexto: a) Estudio del contexto en los años 70 donde se revisa tanto el entorno social y económico como el arquitectónico, sobre todo en lo relativos a mujeres y arquitectura. b) Artículos que explican la incorporación de la perspectiva de género a la arquitectura y al urbanismo. La revista Architectural Design 8/1975, Women in Architecture: c) Un estudio detallado de la revista como objeto en sí. d) Una revisión crítica de algunas obras de arquitectura producidas por arquitectas que contribuyeron a la revista de 1975. Una revisión del Seminario Internacional Women in Architecture en Valencia y descripción del debate y del resultado del mismo, y Seminario internacional en Londres. Consideraciones para una nueva edición, hoy. Conclusiones Se aporta además, anexos con conversaciones con protagonistas de la revista
[CAT] Els objectius del present treball són documentar el context i el contingut de l'exemplar d'agost de 1975 d'Architectural Design, Women in Architecture i veure el sentit i vigència d'una reedició o edició equivalent 40 anys després. L'àmbit temporal de l'estudi se situa, bàsicament, al voltant de l'any 1975 i, en el que és necessari, al voltant de 2015. L'estudi resultant consta de les parts següents: Context: a) Estudi del context en els anys 70 on es revisa tant l'entorn social i econòmic com l'arquitectònic, sobretot en el relatius a dones i arquitectura. b) Articles que expliquen la incorporació de la perspectiva de gènere a l'arquitectura i a l'urbanisme. La revista Architectural Design 8/1975, Women in Architecture: c) Un estudi detallat de la revista com a objecte en si. d) Una revisió crítica d'algunes obres d'arquitectura produïdes per arquitectes que van contribuir a la revista de 1975. Una revisió del Seminari Internacional Women in Architecture a València i descripció del debat i del en resultat, i Seminari internacional a Londres. Consideracions per a una nova edició, hui. Conclusions S'aporta a més, annexos amb conversacions amb protagonistes de la revista
Alvarez Isidro, EM. (2016). Women in architecture. 1975, 2015 [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/63278
TESIS
27
Munchow, Sarah. „Constructed Boundaries: Reading Architecture in Marilynne Robinson's Housekeeping and Jeffrey Eugenides's The Virgin Suicides“. OpenSIUC, 2014. https://opensiuc.lib.siu.edu/theses/1472.
Annotation:
This thesis project analyzes the influence of the built environment on subjectivity in late twentieth-century American fiction. Marilynne Robinson's Housekeeping, I contend, uses domestic architecture to inform the concept of female-as-subject, specifically through additive and subtractive construction techniques. These techniques influence public and private definitions of female, as they are present at the level of the individual house as well as the level of the town of Fingerbone as a cohesive unit. Jeffrey Eugenides's The Virgin Suicides interrogates ethnic subjectivity in a suburban setting. A strict grid orders the suburban landscape which, although visually unifying a group of ethnically diverse individuals, ultimately isolates the subjects--down to the scale of the single-family home--as it encourages collective memory, ethnic repression, and the standardization of perspective. In these novels, architecture is an agent which negotiates subjectivity and the vehicle that communicates ideology through and with the material reality of these homes. Reading architecture helps us understand who these characters are and how the built environment shapes the way they have come to define themselves and others as individuals, which ultimately allows for the subversion of such definitions.
28
Frizell, Hazel Elizabeth. „Representations of specific concerns of the women's liberation movement in British feminist art 1970-1978“. Thesis, Kingston University, 2009. http://eprints.kingston.ac.uk/20225/.
Annotation:
Taking the Women's Weekend Conference held at Ruskin College, Oxford as my starting point, this thesis identifies and critically investigates the representation of specific concerns of the Women's Liberation Movement in British feminist artistic practice between 1970 and 1978. These concerns relate in particular to the personal experience of childraising and domesticity, namely, loss of identity and issues surrounding marriage, domestic labour, childcare, motherhood and female isolation. Approached as a reclamation project based upon the examination of feminist publications, feminist archives, the papers of the Women's Liberation Movement, and oral histories, this thesis establishes the importance of personal issues that were central to the politics of experience adopted by the Women's Liberation Movement. Through a study of the work of feminist artists aligned to the Women's Liberation Movement, this thesis explores their engagement with these issues and the differing ways in which they sought to represent and express them through their work. This thesis argues that their work was - and remains largely unacknowledged - for its representation of liberation politics and its role in raising consciousness of female oppression. However, the more recent publication of feminist and feminist art critiques have provided important insights with which to revisit and re-assess the work. Locating the work within a micro-history of socialist feminism, the research focuses on the work of Feministo, in particular its three founding members, Su , Richardson, Monica Ross and Kate Walker and participants Tricia Davies and Cathy Nicholson. It also examines the work of Alexis Hunter, Pen Dalton, Mair Davies, Margaret Harrison, Elona Bennett and the Hackney Flashers, with particular reference to Michael Ann Mullen. The films of Sue Crockford, the Camden Film Collective, Wages for Housework Campaign and The London Women's Film Group as well as the Berwick Street Collective are also discussed. All of these artists and groups were affiliated to the Women's Liberation Movement and fought oppression by raising awareness of domestic issues through their work. The influence of American feminist art, avant-garde film and socially aware conceptual art is assessed as well as the impetus of collective action alongside the adoption of craft methods in challenging modernist art practice and contributing to an emerging post-modem era. Acknowledging a recent interest in domestic issues, in craft, and the importance of collective artistic strategies associated in the 1990s in Britain with the phenomenon of the 'YBA's (Young British Artists), this thesis proposes a reclamation and re-assessment of the role and work of the artists associated with the Women's Liberation Movement in Britain.
29
Rendell, Jane. „Ramblers and cyprians : gender and architectural space, London's St James, 1821-8“. Thesis, Birkbeck (University of London), 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.313054.
30
Mortazavi, Seyedeh Atefeh. „Women Daily Living Room : Feminist Urban Planning toward Gender-Equality in Public Spaces; Case Study of Sätra, Stockholm, Sweden“. Thesis, KTH, Samhällsplanering och miljö, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-241107.
Annotation:
ABSTRACT In 2014, Sweden became the world's first self-defined feminist nation and a place where gender equality has a strong ideal within the country's national identity. However, the issue of gender equity remains unaddressed in some area across Sweden. Sätra district in Stockholm located between Bredäng and Skärholmen is one of those examples that women usually suffer from inequality. By considering social equality as a fundamental principle of good urbanism, the need for feminist urbanism feels necessary in this context today. Through the lens of feminist urban planning, mainly focused on women in Sätra and tried to reflect women's voices in every urbanization policies. The study is going to examine the role of gender in public space, its socio-spatial implications and create feminist participatory strategies to empower women. In this research, Mothers considered the effective groups of women as their educational role in their family and their central role in the community awareness raising is undeniable. In this way, strengthening mothers role in urban settings can have a powerful multiplier effect on urban development. So that's what has been considered in the whole process of decision-making. This would make an inclusive and women-friendly public space for girls and women where is safe and secure and responsive to the needs of all kinds of people. So that's what has been considered in the whole process of decision-making. This would make an inclusive and women-friendly public space for girls and women where is safe and secure and responsive to the needs of all kinds of people. So that's what has been considered in the whole process of decision-making. This would make an inclusive and women-friendly public space for girls and women where is safe and secure and responsive to the needs of all kinds of people.
31
Schmidt, Kim. „The need of separatist spaces : a queer feminist exploration of saunas and lesbian spaces“. Thesis, Umeå universitet, Arkitekthögskolan vid Umeå universitet, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-160819.
Annotation:
This thesis explores separatist spaces, with focus on lesbian spaces, with the aim of enabling discussion about the need and configuration of that type of spaces. The focus is on exclusion as a method for achieving an equal society in the long term. Grounded in the queer phenomenology that concludes that gender has to do with access to space, and by the repetition of actions, gender segregation takes place in a way that seems effortless. It also deals with that queer, and other minorities, bodies need to orient themselves in a certain way to avoid assault. To orient themselves in a certain way, the space will need to be re-inhabited. The conclusion from that is that there is a need of separatist spaces for minority groups in order at times to get a break from the need to stay aware of the surroundings. This need is strengthened by cataloguing existing separatist spaces based on gender, sexuality and race. In Sweden today separatism is used as a practice to fight structural discrimination. However, separatist spaces face a resistance from the majority society. Following these conclusions the design project is carried out partly in 1:1 actions of separatist spaces, such as hosting sauna clubs where a group of people are invited to sauna together and talk. Part of the project is carried out in smaller scale. Feminist methodology has been used with a focus on architecture as a process rather than an object and using norm-creative design as a tool.Uppsatsen och projektet utforskar separatistiska rum, med fokus för platser för lesbiska. Målet är att möjliggöra för en diskussion om behovet och utformningen av separatistiska rum. Fokuset är på exkludering som metod för att långsiktigt kunna uppnå ett jämlikt samhälle. Den teoretiska grunden är i queer fenomenologi som konstaterat att kön har att göra med tillgång till platser, och att genom en repetition av handlingar skapas en könssegregation som upplevs som den sker utan ansträngning. Den tar även upp hur queera, och andra minoriteter, orienterar sina kroppar på vissa sätt för att undvika påhopp och övergrepp. För att orientera sina kroppar på ett visst sätt behovet rummet om-bebos. Slutsatsen från det är att minoriteter behöver separatistiska rum för att kunna pausa från att ständigt ha fokus på omgivningarna. Detta stärkts genom en katalogisering av några separatistiska sammanhang baserat utifrån kön, sexualitet och ras. I Sverige idag används separatism som ett verktyg för att motverka strukturell diskriminering. Trots det så möter separatism motstånd från majoritetssamhället. Utifrån dessa slutsater har design projektet gjorts delvis i skala 1:1 av att organisera separatistiska arrangemang, så som att arrangera bastuklubbar där personer bjuds in till en bastu för samtal. En annan del har gjort i en mindre skala. Under designprocessen har en feministisk metod med fokus på arkitektur som en process snarare än som ett objekt samt att använda normkreativ design.
32
Burroughs, Brady. „Architectural Flirtations : A Love Storey“. Doctoral thesis, KTH, Kritiska studier i arkitektur, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-194216.
Annotation:
Formulated as a feminist project, written as a pulp fiction, Architectural Flirtations: A Love Storey begins with our claim that the architectural discipline is centered around a culture of critique, which is based in what bell hooks calls “a system of imperialist, white supremacist, heterosexist, capitalist, patriarchy,” and that the values instilled by this culture not only begin with, but are reinforced and reproduced by, the education of young architects. Sounds serious. Right? In a move toward a more vulnerable, ethical and empowering culture of architecture, the project aims to displace the culture of critique, by questioning and undermining relationships of power and privilege through practices that are explicitly critical, queer feminist, and Campy. In other words, it takes seriously, in an uncertain, improper and playful way, what is usually deemed unserious within the architectural discipline, in order to undermine the usual order of things. All of the (love) storeys take place on March 21st, the spring equinox, in and around a 1977 collaborative row house project called Case Unifamiliari in Mozzo, Italy, designed by Aldo Rossi and Attilio Pizzigoni. Beda Ring, PhD researcher, constructs a Campy renovation of one of these row houses, full of theatricality, humor, and significant otherness; while architectural pedagogue, Brady Burroughs, guides a student group from KTH in an Architecture and Gender course; and Henri T. Beall, practicing architect, attends to the details upstairs.QC 20161025
33
Söderman, Viktoria. „Dirty Geometry : Searching for a queer architecture in Stockholm city“. Thesis, KTH, Arkitektur, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-229840.
Annotation:
For whom do we draw buildings? Why does contemporary architecture look the way it does?Why are certain aesthetics considered more valid than others? With this project, I propose Dirty Geometry: norm-bending design that could challenge conventions within the field of architecture. It is an investigation of concepts such as ugliness, beauty, architecture and the human body, interiority, femininity and ”bad taste”. The purpose is to, with the aid of parametric design processes, make Stockholm less boring and more dirty. Dirty Geometry is both the creative process sprung from one’s personal desires, and the resulting design. It aims to celebrate the weird, playful and colorful in an empowering way. This thesis project draws a lot of inspiration from camp aesthetics and drag culture, because of the way humour is used in a subversive way to question gender identities, power structures and norms.
34
Richards, Catherine Elizabeth. „The Changing Room: Into the Closet“. University of Cincinnati / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1243006697.
35
Saldaña, Blasco Dafne. „El espacio como agente coeducador. Participación y transformación feminista de patios escolares en Santa Coloma de Gramenet“. Doctoral thesis, Universitat Autònoma de Barcelona, 2021. http://hdl.handle.net/10803/671684.
Annotation:
Els espais són el medi físic on tenen lloc les relacions socials. El seu disseny condiciona les nostres formes de vida, les nostres oportunitats i experiències vitals. La configuració dels espais no és neutra, depèn de qui i com decideix, de les experiències i els cossos que es prenen de referència i de les necessitats que es prioritza satisfer. Des de l’arquitectura i l’urbanisme feminista s’ha criticat el disseny androcèntric i capitalista de les ciutats, un model que genera espais jeràrquics i excloents que reforcen les desigualtats socials.
Entre tots els espais urbans, el pati de l’escola és un lloc on quotidianament es territorialitzen les desigualtats de gènere des de la infància. La seva normalització i justificació constitueixen aprenentatges invisibles que són interioritzats per els nens i les nenes. D’aquesta manera es reforça una educació sexista en la que les dones (i les persones que no compleixen amb els mandats de gènere) ocupen posicions subordinades i perifèriques en l’estructura social i, en consonància, es restringeix el seu accés als espais de centralitat i visibilitat quedant relegades als llocs menys valorats.
Considerant l’espai com un agent educador (coeducador o deseducador), es planteja com imprescindible tenir en compte la dimensió espacial per aconseguir que l’educació sigui, tal i com defenen les pedagogies crítiques i feministes, un camí per assolir l’emancipació i una major justícia social. Aquestes pedagogies aposten per un aprenentatge basat en processos col·lectius de reflexió i d’acció localitzats i contextualitzats.
Per aquest motiu s’ha considerat la metodologia d’Investigació Acció Participativa com la més indicada per desenvolupar el cas d’estudi d’aquesta tesi, un procés comunitari en el que l’anàlisi i la transformació d’un espai quotidià de les criatures, el pati de l’escola, serveix com a pretext per visibilitzar les desigualtats de gènere, identificar-les específicament en la seva dimensió espacial y buscar solucions a partir dels recursos de la comunitat i de l’entorn.
Amb aquest treball s’ha volgut promoure la presa de consciència, la visibilització de les desigualtats de gènere i l’acció col·lectiva de les comunitats educatives al voltant del pati de l’escola, utilitzant metodologies i tècniques d’anàlisi socioespacial com eines educatives i aportant solucions tècniques capaces de materialitzar les idees col·lectives. A més, s’han generat materials i recursos que permeten replicar i escalar aquest procés en altres contextos. Aquesta tesi vol posar en valor el potencial de l’educació espacial feminista per assolir unes societats sense desigualtats per motius de gènere i lliures de violències masclistes.Los espacios son el medio físico donde tienen lugar las relaciones sociales. Su diseño condiciona nuestros modos de vida, nuestras oportunidades y experiencias vitales. La configuración de los espacios no es neutra, depende de quién y cómo decide, de las experiencias y los cuerpos que se toman como referencia y de las necesidades que se prioriza satisfacer. Desde la arquitectura y el urbanismo feminista se ha criticado el diseño androcéntrico y capitalista de las ciudades, un modelo que genera espacios jerárquicos y excluyentes que refueran las desigualdades sociales. Entre todos los espacios urbanos, el patio de la escuela es un lugar donde cotidianamente se territorializan las desigualdades de género desde la infancia. Su normalización y justificación constituyen aprendizajes invisibles que son interiorizados por los niños y las niñas. De esta manera se refuerza una educación sexista en la que las mujeres (y las personas que no cumplen con los mandatos de género) ocupan posiciones subordinadas y periféricas en la estructura social y, en consonancia, se restringe su acceso a los espacios de centralidad y visibilidad quedando relegadas a los lugares menos valorados. Considerando el espacio como un agente educador (coeducador o deseducador), se plantea como imprescindible tener en cuenta la dimensión espacial para lograr que la educación sea, tal y como defienden las pedagogías críticas y feministas, un camino para alcanzar la emancipación y una mayor justicia social. Éstas pedagogías apuestan por un aprendizaje basado en procesos colectivos de reflexión y de acción localizados y contextualizados. Por este motivo se ha considerado la metodología de Investigación Acción Participativa como la más indicada para desarrollar el caso de estudio de esta tesis, un proceso comunitario en el que el análisis y la transformación de un espacio cotidiano de las criaturas, el patio de la escuela, sirve como pretexto para visibilizar las desigualdades de género, reconocerlas específicamente en su dimensión espacial y buscar soluciones a partir de los recursos de la comunidad y del entorno. Con este trabajo se ha querido promover la toma de concencia, la visibilización de las desigualdades de género y la acción colectiva de las comunidades educativas en torno al patio de la escuela, utilizando metodologías y técnicas de análisis socioespacial como herramientas educativas y aportando soluciones técnicas capaces de materializar las ideas colectivas. Además, se han generado materiales y recursos que permiten replicar y escalar este proceso en otros contextos. Esta tesis quiere poner en valor el potencial de la educación espacial feminista para alcanzar unas sociedades sin desigualdades por motivos de género y libres de violencias machistas.
Spaces are the physical environment where social interactions take place. Its design determines our lifestyles, our opportunities and life experiences. The configuration of the spaces is not neutral, it depends on who takes decisions and how, on the experiences and bodies that are taken as reference and on the needs that are prioritized to satisfy. From feminist architecture and urban planning, the androcentric and capitalist design of cities has been criticized, a model that generates hierarchical and exclusive spaces that reinforce social inequalities. Among all urban spaces, the schoolyard is a place where gender inequalities are daily territorialized since childhood. Its normalization and justification constitute an invisible learning that gets internalized by boys and girls. This reinforces a sexist education in which women (and people who do not comply with gender mandates) occupy subordinate and peripheral positions in the social structure and, consequently, their access to central and visible spaces is restricted while they are relegated to the least valued places. Considering space as an educational (co-educational or dis-educational) agent, it is essential to take into account the spatial dimension for, as critical and feminist pedagogies defend, making education a way to achieve emancipation and greater social justice. These pedagogical models are committed to social change, promoting learning through localized and contextualized collective processes of reflection and action. For this reason, the Participatory Action Research methodology has been considered as the most indicated to develop the case study of this thesis, a community process in which the analysis and transformation of a daily space of children, the schoolyard, serves as a pretext to visibilize gender inequalities, to recognize them specifically in their spatial dimension and to seek solutions based on resources from the community and their surroundings. This work aims to promote awareness and visibilization of gender inequalities and collective action of educational communities around the schoolyard, using methodologies and techniques for socio-spatial analysis as educational tools and providing technical solutions capable of materializing collective ideas. In addition, tools and resources have been generated that allow replicating and scaling this process in other contexts. This thesis seeks to highlight the potential of feminist spatial education to achieve societies free from gender inequalities and violence.
36
TREVISAN, Bianca. „«Architecture was my first visual interest». Una rilettura critica in chiave architettonica dell’opera di Barbara Kruger“. Doctoral thesis, Università degli studi di Bergamo, 2019. http://hdl.handle.net/10446/128679.
Annotation:
Il presente elaborato si propone di rileggere il lavoro di Barbara Kruger secondo la chiave interpretativa dello spazio e della sua passione per l’architettura. Nelle molte mostre dedicate all’artista infatti, così come negli studi critici, non si è mai considerato approfonditamente questo aspetto, concentrandosi più sulla sua esperienza alla Condé Nast come art director e dunque sull’influenza della grafica sul suo lavoro collagistico, oppure sulle questioni di genere. Se è indubbio il suo impegno in tal senso – Barbara Kruger è un’artista femminista –, così come l’importanza della sua esperienza nel mondo della pubblicità, a noi pare che queste letture non permettano una visione d’insieme del suo lavoro e di accedere alle sue ragioni più profonde.
Rileggere l’opera di Kruger attraverso l’architettura – suo «first love», «visual interest», secondo le sue stesse parole – permette anche di concentrarsi sul nucleo di opere realizzate tra la fine degli anni Sessanta e la fine degli anni Settanta, quasi sconosciute e alle quali non è mai stato dedicato uno studio: gli arazzi, le poesie e i racconti, i reading e le performance, i pannelli testo-immagine e il prezioso libro d’artista Picture/Readings, tra le cui pagine è contenuta tutta la poetica di Kruger, precedente e soprattutto successiva. Nelle sue opere, il punto è «to deal with the power of everyday», come lei stessa ribadisce: indipendentemente dal medium scelto, l’architettura le permette di operare nello spazio sociale e di mostrarlo nelle sue stesse dinamiche di potere.
37
Hanna, Bronwyn Planning UNSW. „Absence and presence: a historiography of early women architects in New South Wales“. Awarded by:University of New South Wales. Planning, 2000. http://handle.unsw.edu.au/1959.4/18217.
Annotation:
Women architects are effectively absent from architectural history in Australia. Consulting first the archival record, this thesis establishes the presence of 230 women architects qualified and/or practising in NSW between 1900 and 1960. It then analyses some of these early women architects' achievements and difficulties in the profession, drawing on interviews with 70 practitioners or their friends and family. Finally it offers brief biographical accounts of eight leading early women architects, arguing that their achievements deserve more widespread historical attention in an adjusted canon of architectural merit. There are also 152 illustrations evidencing their design contributions. Thus the research draws on quantitative, qualitative, biographical and visual modes of representation in establishing a historical presence for these early women architects. The thesis forms part of the widespread political project of feminist historical recovery of women forebears, while also interrogating the ends and means of such historiography. The various threads describing women's absence and presence in the architectural profession are woven together throughout the thesis using three feminist approaches which sometimes harmonise and sometimes debate with each other. Described as "liberal feminism", "socialist feminism" and "postmodern feminism", they each put into play distinct patterns of questioning, method and interpretation, but all analyse historiography as a strategy for understanding society and effecting social change.
38
Linna, Anja. „Urban Caring : Finding creative strategies for care-full architectural practices in Norra Sorgenfri, Malmö“. Thesis, KTH, Arkitektur, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-129307.
Annotation:
With its starting point in social and community building activities of everyday life, this project seeks a complex understanding of a former industrial site in Malmö - Norra Sorgenfri - its past, present and possible futures. Critical and participatory mappings, speculations, policy making and small-scale interventions are part of the produced material that circulate around the feminist ethics of care, and how it can inform a socially aware architectural practice. The site, a celebrated regeneration project, produces an interstice in relation to the more controlled urban fabric surrounding it. It is more open to diverse modes of occupation and use, accommodating activities and groups that otherwise have a hard time to make a space for themselves in the city. I argue that a feminist ethics of care enables designers and involved participants to make a complex engagement with places. Care can help us to redefine the role of the architect and to alter architectural practice. In the 1980:s Carol Gilligan introduced care as an attached way of human connection, requiring listening and understanding differences and needs. In this light, I define a design practice where sustainability is understood in relation to responsibility and actions oriented towards other people. Urban caring is about carefully seeing and using what is here; the small-scale and subtle that might go unnoticed in planning/architectural projects. My proposals contain how to read, care-fully observe, interpret and act - as an urban-caretaker. Among the design proposals and methods are: critical mapping as a central participatory task, a manual of care as part of the mapping and from an intimate understanding of the site, a series of design tests -strategies, policy making and small-scale interventions- , a manifesto that suggests ways for this knowledge to be transferred to other sites, and the interactive map a care-full companion. Urban caring offers an open-ended process, enabling the site to develop in a number of directions. My role has not been to over-determine what the outcome might be, but instead to facilitate tools of enabling positive change toward possible futures.Projektet strävar efter en komplex förståelse av ett före-detta industriområde i Malmö - Norra Sorgenfri. Det handlar om nya sätt för arkitekter och planerare att arbeta med en känslig plats: att ta hand om existerande egenskaper och villkor, platsens historier och möjliga framtider, samt inte minst de viktiga roller som sociala och samhörighetsskapande vardagsaktiviteter spelar i Norra Sorgenfri idag. Tesen som jag driver är att en feministisk omsorgsetik (ethics of care på engelska) kan möjliggöra ett hållbart engagemang med en plats, mer specifikt här ett industriområde med ett rikt småskaligt kulturliv, och på så sätt forma en socialt ansvarstagande urban praktik. Norra Sorgenfri är ett hyllat urbant utvecklingsprojekt och utgör ett ”mellanrum” i relation till den omgivande mer kontrollerade stadsstrukturen. Platsen är mer öppen för olika användningssätt och ackommoderar aktiviteter och grupper av människor som annars kan ha svårt att göra sin röst hörd i staden. Med hjälp av konceptet care (omsorg) kan arkitektens roll och arkitekturfältet omdefinieras till att bli mer inkluderande och deltagande i samhällsförändringar. På 1980-talet introducerade feministiska etikern Carol Gilligan omsorg som ett mer empatiskt sätt att relatera till andra människor, med fokus på lyssnande och förståelse för skillnader och behov. I detta ljus definierar jag en arkitekturpraktik där hållbarhet förstås utifrån ansvar och handlingar gentemot andra människor. Urban caring handlar om att omsorgsfullt se och använda det som finns här; det småskaliga och subtila som riskerar att gå obemärkt förbi i arkitektur- och planeringsprojekt. Mina förslag innehåller metoder för att läsa, omsorgsfullt observera, tolka och agera – som en urban caretaker. Bland förslagen finns: kritiska kartläggningar som ett centralt sätt att arbeta med deltagandeprocesser, en omsorgsmanual (manual of care) som en del av kartläggningen och utifrån en ingående förståelse av platsen, en serie av designtest – strategier och småskaliga interventioner, ett manifest som föreslår hur kunskapen från detta projekt kan överföras till andra platser, och den interaktiva kartan en omsorgsfull följeslagare (care-full companion).
39
Cronje, Jana Roda. „The Receptacle: Cultivating safe space for women at Constitution Hill Precinct, Johannesburg“. Diss., University of Pretoria, 2020. http://hdl.handle.net/2263/78577.
Annotation:
Recent statistics have shown that Violence Against Women (VAW) affects one in three women worldwide. Not only is the issue prevalent at a global scale, it is embedded in the societal fabric of South Africa. Women and girls disproportionately experience public and private environments as unsafe due to the fear or threat of violence against them. Thus, limiting their movement, use and occupation of space. In essence, such instances of violence infringe upon a women’s human rights. In 1996, two years after South Africa became a democracy, it was necessary to manifest physically through architecture the symbolic significance of South Africa’s Constitution. An opportunity for architectural intervention is identified at the Constitution Hill Precinct. The aim is to make more visible and practical advocacy of women’s rights through establishing an association of the Precinct as a safe space for women. The study, through mixed qualitative methods, explores the feminist notion of safe space to understand safety, as both a practical and social construct, is integral to reflect the lived experiences of women. Design principles to guide the architectural intervention are subsequently synthetized from primarily theoretical informants, followed by conceptual, contextual and programmatic informants. The result is the translation of safe space into an architecture of lived experience; where the threat of fear or violence does not intimidate nor limit the occupation and use of space by women; but fosters spaces of empowerment, healing and upliftment. By programming underutilized in-between spaces along the East-West thoroughfare of the Precinct, through a transformative approach towards heritage, the advocacy for women’s rights is made visible and attains an association as a place where women are received and celebrated. Focus is placed on the Western edge of the Precinct to explore social and public programmes in support of women and the community at large. The existing parking lot structures, identified as lost space, are adapted to reflect an architectural intent of safe space and become spaces of meaning and contribution towards the Precinct. Finally, technical resolution of the project stems from the conceptual intentions of the design intervention; expressing a transformative approach between old and new.Mini Dissertation (MArch (Prof))--University of Pretoria, 2020.
Architecture
MArch (Prof)
Unrestricted
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Schwartz, Erin Stock. „Streaking and Straight Pins: Constructing Masculinity on an Antebellum College Campus“. W&M ScholarWorks, 2015. https://scholarworks.wm.edu/etd/1539720313.
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Nomdedeu, Calvente Zoraida. „La construcción de la identidad de las mujeres a través de la imagen de los espacios interiores“. Doctoral thesis, Universitat Jaume I, 2017. http://hdl.handle.net/10803/402728.
Annotation:
La tesis La construcción de la identidad de las mujeres a través de la imagen de los espacios interiores investiga cómo influyen las imágenes generadas y difundidas de estos espacios, en la construcción de la personalidad de sus habitantes, en particular en la identidad de cada mujer.
La tesis enfoca las situaciones de discriminación afrontadas por algunas pioneras en arquitectura y diseño, abundando en la denuncia de la ocultación que ha sufrido su legado.
En las revistas de arquitectura e interiorismo parecen haber desaparecido los estereotipos, aparentan neutralidad. Nos encontramos frente a una estrategia de omisión de la figura humana, en la que reside el núcleo de una investigación que denuncia la desigualdad, y demanda planteamientos de nuevos diseños más paritarios.
En el último capítulo, un análisis de la cocina como estudio paradigmático desvela ocultaciones y contradicciones implícitas que derivan de ciertas perspectivas sexistas.
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Gaier, Samantha. „Interior Decoration as Fine Art: Rachel Feinstein and The Sorbet Room, 2001“. Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1363604230.
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Ramos, Isabella. „Walking in The City: Koji Nakano’s Reimagining and Re-Sounding of The Tale Of Genji“. Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/1037.
Annotation:
Imagined Sceneries is a work written by composer Dr. Koji Nakano of Burapha University, Thailand for two sopranos, koto, light percussion, narrations, soundscapes recorded in Kyoto, Japan in December 2015, and digital projections of Ebina Masao’s 1953 print series Tale of Genji. Imagined Sceneries’ reimagining and “re-sounding” of Heian Kyoto relies on a balance between what is imagined and what is experienced in performance. Its many elements collectively explore multiple layers of Japanese histories, soundscapes, environments, and sensibilities. Using Michel de Certeau’s concepts of the city, this thesis journeys through Nakano’s imagined spaces.
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Lockette, Philip M. „Sex in the Kitchen: The Re-interpretation of Gendered Space Within the Post-World War II Suburban Home in the West“. DigitalCommons@USU, 2010. https://digitalcommons.usu.edu/etd/668.
Annotation:
In the decades following 1945, Americans moved increasingly out of cities into suburbs. The migration illustrated the emergence of a new, broader middle class as a result of growing postwar affluence. In the previous half-century, families living in a suburb could claim middle-class status. The emerging class built its identity on the forms and values adopted from this earlier, more affluent Victorian middle class. These adopted values were played out in a home designed around Progressive era ideals of the family. Through this Progressive filter, the new concept of the home was scaled down, without servants, and ceased existing wholly as the wife's sphere of influence--as in the Victorian version. The Progressive impulse also reduced the size of the house to make it more efficient, and through government subsidies shaped the home into a smaller, economically sized package. The financial framework that determined the shape of the postwar home also influenced the technology placed within its walls. This financially influenced technology particularly affected the shape and content of the kitchen. The new, efficient kitchen did not release women from their duty to provide daily family meals, but it did create a culturally safe space for men to cook as a hobby. In the postwar, suburban kitchen women and men contended with economic pressures and changing social realities which complicated the Victorian values and Progressive ideals. Middle-class women needed to leave the home for work, and--now separated from traditional urban social outlets--middle-class men sought refuge in the suburban home. By examining Sunset magazine's "Chefs of the West" column, traditional women's cookbooks and service magazines, men's magazines, building industry trade journals, and census reports, the kitchen demonstrates that women and men reshaped the home in response to changing middle-class values. While financing regulations at first shaped how the emerging middle class lived within the postwar, suburban home, residents reinterpreted the space as a reaction to the economic changes around them. This cycle continued with each new interpretation of the postwar single-family home.
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Ingebrigtsen, Anna. „Grounds For Healing : Tales of Toxic Terrain“. Thesis, KTH, Arkitektur, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-140580.
Annotation:
This project proposes the restoration of Vinterviken’s contaminated grounds, a legacy of Nobel’s dynamite production. How can we live with toxicity? The design sows phytoremediating meadows, extracts toxins, harvests, decomposes, burns, and grows new crops. Elevated pathways offer a procession through the site, to green roofs, mountain paths, an open kitchen & hearth, a floating barge with biopools & a sauna. As the fields are healed, the structures move into the barge and sail to other polluted sites.Projektet är ett förslag till återställandet av Vintervikens förorenade marker, ett arv från Nobels dynamitproduktion. Hur kan vi leva med toxicitet? Modellen sår fytoremedierande ängar, skiljer ut gifter, skördar, bryter ned, bränner, och odlar nya grödor. Förhöjda stigar erbjuder en gångväg genom området, till gröna tak, bergsstigar, ett öppet kök och härd, en flytande pråm med biopooler och en bastu. När områdena har läkts, flyttar strukturerna in i pråmen och seglar till andra förorenade platser.
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Saidel, Deborah J. „Women in Music: Letting a Long Story Be Long Contemplating Women’s Sonic, Musical, and Spiritual Experiences in Prehistory“. VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5635.
Annotation:
Situated within deep history, this study explores the auditory and spiritual lives of Paleolithic women. It considers their personal agency in mediating the spiritual power of sound and how doing so contributes to a multifaceted musicality. The theoretical framework involves a wide spectrum of topics, from ways of rethinking the writing of history and reckoning with time, to sound studies and the study of acoustics in ancient sites, to a critical examination through a feminist lens of normative disciplinary scholarship in anthropology and archaeology, religious studies, and musicology. I explore potential audio-visual-lithic relationships for their implications for deepening an understanding of the spiritual aspects of Paleolithic life. Drawing from this interdisciplinary literature, integrative discussions are constructed which when considered collectively, not only provide different types of role models and different criteria pertaining to women's experiences of music-making, but also facilitate the emergence of a more nuanced understanding of Paleolithic spiritual practices. In this women-centric narrative innumerable generations of women's participation as spiritual healers within the shamanic musical paradigm are acknowledged and valued, broadening the parameters of women's cultural heritage and spiritual experience. This expansion can help women today turn away from a compensatory music history perspective that is oriented toward figuring out how to fit into a prescribed androcentric narrative of Western art music and turn towards a more holistic narrative in which women can better consider their lineage(s) on their own terms. It fosters re-conceptualizations of women's musical and spiritual identities by reorienting the timeline, contexts, and definition of women's experiences of music-making as sound-producers and sound-interpreters. This project is intended to provide one possible starting point for new conversations about women in music regardless of one's positionality. From a more inclusive gynocentric vantage point, the toxic self-perpetuating loop which has affected how musicology has thus far been shaped, namely through the undervaluing of women’s musical experiences and the ways that they think and feel about music, is being contested. Ultimately, it is a matter of ownership.
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Björklund, Ingrid. „Momma & Mormor : Berättelsen om Fridhem“. Thesis, Konstfack, Inredningsarkitektur & Möbeldesign, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7829.
Annotation:
I mitt projekt utvecklar jag konstnärliga designmetoder för att studera, samla in och berätta om kvinnohistoria och interiörhistoria, inspirerat av feministiska och queerteoretiska perspektiv på temporalitet, identitet, historia, material och berättande. Mitt examensarbete utgår från min 90-åriga mormors berättelser om sina barndomsminnen av hennes två mormödrar ‘Momma’ och ‘Mormor’ och hur det var att spendera somrarna på deras gård, Fridhem. I formgivning av bordet Fridhem, tavlan Systrar på gungbräda i trädgården, installationen Flytande fragment och installationen av dessa under Konstfacks Vårutställning 2021 tillsammans med ljudverket Minnen från Momma och Mormors Fridhem, manifesterar jag studierna och berättelsen.
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Amanat, Shayda. „Iran and the Arab World Through A Female Lens: Deconstructing Western Phantasms and Terrors“. Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/428.
Annotation:
This thesis explores how today’s Sheherazades, in this case women photographers from the Middle East, create alternative representations that constitute new meanings and understandings of life, gender, and politics in Iran and the Arab world.
49
Werner, Isabella. „Kloak eller oas? : En omformulering av den offentliga toaletten“. Thesis, Konstfack, Inredningsarkitektur & Möbeldesign, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7416.
Annotation:
Offentliga toaletter kan ofta vara ofräscha, tråkiga och utformade med kalla material och utan intresse för att skapa en trevlig miljö utöver att strikt tillgodose nödvändigheter. I mitt examensarbete har jag försökt ge liv åt den offentliga toaletten. Här vill jag låta färg, form och lekfullhet ta plats i funktionen. Vare sig du kom- mer för att ensam pausa en stund, eller om du passerar i all hast och bara söker en vanlig (men bra!) toalett, ska du finna en plats gjord med omsorg. Med grund i feministisk stadsplanering har jag försökt svara på be- hov som ofta förbises i utformandet av offentlig miljö, t.ex genom att planera barntoaletter och amningsrum. Toaletten har jag placerat i Slussens tunnelbanestation, eftersom det där idag inte finns en gratis offentlig toalett, trots att tusentals passerar här dagligen. Slussens kakel, konstutsmyckningar och estetik har påverkat toalettens uttryck, i sammanflätning med känslan och arkitekturen i antika bad, hammam och japansk bad- kultur. Färgglada, udda och omsorgsfullt utformade toaletter jag stött på, i många fall utomlands och gjorda under tidigare delen av 1900-talet, har inspirerat mitt designförslag, men också lagt grunden för mitt val av tema i detta examensprojekt.Public toilets are often unclean, dull and designed with cold materials with no interest in creating a pleasant environment other than strictly satisfying needs. In my degree project, I have tried to bring life to the public toilet. Here, I want to let colour, form and playfulness be a part of the functionality. Whether you come to pause alone for a moment, or if you are in a hurry and just looking for an ordinary (but good!) toilet, you should find a place made with care. Based on feminist urban planning, I have tried to provide for needs that are not always included in the design of the public environment, for example by planning children’s toilets and a breastfeeding room. I have placed the toilet in Slussen’s metro station, where today there is no free public toilet, even though thousands of people pass here daily. Slussen’s tiles, art decorations and aesthetics have influenced the expression of the restroom, intertwined with the feeling and architecture of antique baths, hammams and Japanese bathing culture. The colourful, odd and carefully designed toilets I have come across, in many cases abroad and made during the early part of the 20th century, have inspired my design proposal, and also laid the foundation for my choice of theme in this degree project.
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Le, Veque Mollie S. „Dirty Pictures—Not for Sale: Re-reading Bellocq’s Storyville Portraits“. Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/cgu_etd/94.
Annotation:
In this paper, I examine E.J. Bellocq's "Storyville Portraits" within art historical and feminist historiographies. One of the most infamously alluring parts of New Orleans at the turn of the century, the Storyville red light district is hardly part of contemporary American consciousness today. Part of my work involves an evaluation of what a lack of archival resources does to perceptions of Storyville and more broadly, the stereotypical late Victorian “fallen women” that has been read into history - both by historians and popular culture. However, my focal point is indeed the portraits and how they might be re-read and fruitfully explored when considering a variety of pertinent factors that influenced representations of sex work in late 19th century New Orleans.