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1
Dahlquist, Kirsten Lee. "Women and Architecture: Re-Making Shelter Through Woven Tectonics." Scholar Commons, 2010. https://scholarcommons.usf.edu/etd/1606.
Повний текст джерелаАнотація:
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As a result of this disregard, the capacity of the planet suffers due to outdated and unsustainable residential building practices, while quality of life degrades due to the inabilities of built spaces to nurture and engage inhabitants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.
2
Alvarez, Isidro Eva María. "Women in architecture. 1975, 2015." Doctoral thesis, Universitat Politècnica de València, 2016. http://hdl.handle.net/10251/63278.
Повний текст джерелаАнотація:
[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
3
Silberberg, Katrin Mary. "Women in architecture : path and practice." Thesis, Massachusetts Institute of Technology, 1995. http://hdl.handle.net/1721.1/32662.
Повний текст джерелаАнотація:
Thesis (M.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1995.Includes bibliographical references (p. 109-112).
This project presents an exploration of the lives of three women in the field of architecture today. Through interview, discussion, and the use of electronic, digital media a history of each individual's history unfolds. The hierarchy of information and design were linked from the early stages of the project and it is in the final form of the project that one can discover a format that is consistent in its presentation and navigational structure. The goal was to enable the user to "walk through" the information and compare stories and experiences. Thus, the viewer is encouraged to draw his or her own conclusions from the information presented in the document rather than be influenced by suppositions of the author. This thesis project was also a study in the creation of an electronic document that would report information of interest to the discussion of gender in the professional world of architecture. The aim was to make this information available to a large number of people through the use of an electronic information distribution service such as the Internet. The architects' stories are available to the public for viewing and learning on the Netscape browser. The second aim was to design a project that would be visually appealing while working within the constraints of the Netscape browser application on the WorldWideWeb. The latter was interesting in its design challenge; I believe this challenge was met. Functional browser programs do not prohibit an attractive, interesting display of information.
by Katrin Mary Silberberg
M.S.
4
Sharp, Leslie N. "Women shaping shelter." Diss., Georgia Institute of Technology, 2004. http://hdl.handle.net/1853/7268.
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5
Woosnam, Margaret D. "Journey to leadership women administrators in architecture /." Connect to this title online, 2007. http://etd.lib.clemson.edu/documents/1181666395/.
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6
Hooper, Elizabeth Anne. "A feminist architecture." Thesis, Georgia Institute of Technology, 1988. http://hdl.handle.net/1853/23945.
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7
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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8
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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9
Sharp, Leslie Noel. "Women shaping shelter technology, consumption, and the twentieth-century house /." Available online, Georgia Institute of Technology, 2004:, 2004. http://etd.gatech.edu/theses/available/etd-06072004-131349/unrestricted/sharp%5Fleslie%5Fn%5F200405%5Fphd.pdf.
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10
Eskandari, Maryam S. M. Massachusetts Institute of Technology. "Women places and spaces in contemporary American mosque." Thesis, Massachusetts Institute of Technology, 2011. http://hdl.handle.net/1721.1/65546.
Повний текст джерелаАнотація:
Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Architecture, 2011.Cataloged from PDF version of thesis.
Includes bibliographical references (p. 104).
There is an ever-present demand for Mosques in American cities to accommodate the more than 8 percent of the American population that are Muslims; the majority of which are American-born Muslims or American converts. However, Muslim-American communities have implemented the same architectural vocabulary of mosques seen in the Middle East into their American neighborhoods. Nevertheless, this architectural transplantation from the Middle East to America does not come without problems. The weaving of Middle Eastern architectural culture with an American application of Islam, which is prominent within Modern American society, gives rise to internal tensions felt within the community, in particular to the issue of Muslim women's' place in community mosques. Through the numerous case studies and investigations of the American Mosques that I documented, it is clear that the community does not provide adequate spaces for their women members. My thesis explores the process of modifying and developing a new architectural vocabulary for the American mosques within the confinements and boundaries in Islam, in particular, creating an adequate space for women. A lack of attention to the needs of American Muslim women in the states has caused a gender conflict over the adequacy of spaces for Muslim women within American mosques. For example, in the 2006 controversial documentary titled the "Mosque of Morgantown"1 , located in West Virginia, a significant dilemma was created dividing the Muslim community residing in the United States. The "Mosque of Morgantown" set the social precedent for some Muslim women to question some of the religious rulings regarding prayers and set the tone for numerous other protests, of which the most recent occurred at the Islamic Center of Washington DC. In early part of 2010, the Islamic Center of Washington D.C.2 had an outburst of escalating tensions between genders. Thirty Washington D.C. women united in protest and refused to pray in the basement of the mosque, which was their designated area of worship. Instead they decided to attend prayers under the same roof as the men during worship. This seemingly simple act of protest was frowned upon. The Imam of the mosque declared that the allocated rows were for men only. The presence of women in the rows resulted in the delay of the obligatory Friday prayer that is mandatory for men in Islam. Through these incidences, it is clear that an investigation of a new architectural expression, within the confinement of the religion, for women-driven spaces needs to be conducted.
by Maryam Eskandari.
S.M.
11
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.
Повний текст джерелаАнотація:
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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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.
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13
Volz, Kirsty. "Architect and Ceramist : Nell McCredie's Architectural Works." Thesis, University of Queensland, 2021. https://espace.library.uq.edu.au/view/UQ:b58cd59.
Повний текст джерелаАнотація:
Nellie (Nell) McCredie (1901-1968) worked as both an architect and a ceramist. She was enrolled in the second cohort of the Bachelor of Architecture at the University of Sydney between 1919 and 1923. However, after graduating, McCredie was unable to find employment in architecture; instead, she found work in various drafting roles in Sydney. In her search for full-time employment in architecture, she moved to Cairns in July 1925 and spent four months working for a small architectural firm, Lawrence and Lordan.[1] In November 1925, McCredie moved to Brisbane and joined the Queensland Government’s State Advances Corporation in the Workers Dwelling Board (WDB). She stayed there for three years designing affordable homes, funded by government-backed loans, for working and middle class families. During this time, she designed at least one house as a private commission, outside of her employment with the WDB. While in Brisbane, McCredie started taking classes in ceramics with LJ Harvey at the Central Technical College.[2]McCredie returned to Sydney in 1929 at the beginning of the Great Depression. Upon returning home, she undertook further training in ceramics, learning to throw pottery on a wheel.[3] What started as a hobby transformed into McCredie’s full-time career throughout the 1930s.[4] By 1932 she had started her own ceramics teaching and production business based out of a studio on George Street in Sydney’s CBD. McCredie also continued to practice architecture independently in Sydney during the 1930s and 1940s. One of her most significant architectural works in Sydney was her design for a purpose-built ceramics studio in Epping in 1936. She operated her ceramics business from Epping with her brother Robert until she died in 1968.[5]Existing histories on McCredie’s career have focused on her ceramics rather than her architecture. The lack of attention paid to McCredie’s architecture is not because her work was insubstantial but because of the complexities in attributing authorship by architects to their buildings.[6] This thesis details McCredie’s career in architecture for the first time, which has been made possible by the discovery of her architectural archive.
McCredie’s architectural archive provides a rare opportunity to discuss the built work of one of Australia’s early women architects. This research has led to the identification of 12 previously undiscovered houses by McCredie, including seven houses in Queensland and five in Sydney’s northern suburbs. Of these 12, 10 are extant. Prior to this research, only one of her houses had been identified, Uanda (1928) in the Brisbane suburb of Wilston. It was only discovered after an application to demolish the house was submitted to Brisbane City Council in 1998. The council sought an interim heritage protection order for the house, which the then owners of Uanda disputed in the Queensland Land and Environment Court in 1999. Fortunately, the decision to protect Uanda was upheld, and it was included on the Queensland Heritage Register in 2000. The court case over the heritage listing of Uanda is an important departure point for this thesis, especially in terms of how the aesthetic merits of the house were debated between heritage expert Richard Allom and historian Judith McKay.[7]
The discussion of McCredie’s architectural works presented in this thesis also provides new insights into the careers of the architects she worked alongside. McCredie was among the first identifiable cohort of Australian women in architecture, who as Julie Willis wrote, emerged in earnest in the 1920s.[8] This study builds on existing research on Australia’s early women architects completed by Willis, McKay and Bronwyn Hanna. In particular, it provides new details about the careers of Australian interwar women architects, Ursula Jones, Eunice Slaughter, Dorothy Brennan, Lorna Lukin, Marjorie Hudson, Rosina Edmunds and Heather Sutherland. Additionally, McCredie’s archive also contributes to existing histories about the institutions that she was involved with throughout her career, including new findings into the histories of the WDB and the curriculum delivered into Australia’s first Bachelor of Architecture degree at the University of Sydney.
[1] Nell McCredie Employment Statement, Department of Public Works, 1928, Queensland State Archives document: WOR/A 1194 Department of Public Works Administration series files Brisbane, Australia
[2] Judith McKay, “Designing women: pioneer architects”. Journal of the Royal Historical Society of Queensland, Vol. 20, No. 5, (Feb 2008): 174-175.
[3] Robert McCredie, “McCredie Pottery: 1922-1974” McCredie Ceramics Archive, National Gallery of Australia, Canberra, Australia, 1
[4] “Where Pottery is Made By Hand: Sydney Girl’s Fascinating Hobby” The Sydney Morning Herald 20 October, 1936: 5
[5] Robert McCredie, “McCredie Pottery: 1922-1974,” 6
[6] Julie Willis, Invisible Contributions: The PRobertlem of History and Women Architects, Architectural Theory Review, 3:2, (1998): 61
[7] Michel v. Brisbane City Council, Qpelr 374, 1999
[8] Julie Willis, Aptitude and Capacity: Published Views of the Australian Woman Architect, Architectural Theory Review, 17:2-3, (2012): 323
14
Callahan, Lisa J. (Lisa Jean). "The advent of women into the workforce as it affected housing trends." Thesis, Massachusetts Institute of Technology, 1994. http://hdl.handle.net/1721.1/64888.
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15
Arceneaux, Kathleen Dugas. "The script-analogue and its application in architectural analysis: the relationship of African women to African traditional architecture." Diss., Virginia Polytechnic Institute and State University, 1989. http://hdl.handle.net/10919/54758.
Повний текст джерелаАнотація:
This work involves the presentation of an original critical theory, termed the "script-analogue", for the discovery of significance in works of traditional architecture within their cultural contexts. The theory includes a set of related ideas about the relationship of architecture and culture, and uses these ideas as a method to analyze the relationship of African women to African traditional architecture.
The use of the script as an analogue refers to the script as it is used in theater, and indicates that the relationship of the individual, culture, and the architectural environment is dynamic and interactive. The "script-analogue" derives from post-structural thought, and modifies and expands on some of its themes to make them directly applicable in the context of architecture. lt represents a dynamic analytical alternative to the reading of architecture as “text”.
In the "script-analogue" theory, culture is represented through the actions of individuals, who are members simultaneously of a culture and overlapping and modifying sub-cultures. Who an individual is, culturally and sub-culturally, is important in the relationship of the individual to architecture. The theory offers a means by which gender differences, in terms of "who" builds and uses architecture, can be addressed in research, through the investigation of metaphors of significance to women, and thus it can facilitate research which focuses on women.
The concept of architecture is expanded to include both the built environment, and the unbuilt environment which is designated to be of significance through language. Memory is the means by which significance in architecture is given continuity. The term commemorative is used to indicate the commemoration, through architectural forms, of the appropriate actions of individuals within culture. The term orientative indicates that the locations of architectural forms and spaces, and the orientations of people to architecture, are factors in the memory of architectural significance and propriety of actions.
The "script-analogue" proposes that architectural significance can be discovered through investigations of the metaphor in language, and that metaphor is the means by which cultural themes exist in an inter-connected relationship to each other. Ritual, as metaphorical action which takes place in an architectural setting, activates the script, and connects it to other cultural and sub-cultural themes outside of the local and specific conditions. This inter-connectedness is termed in the "script-analogue", transcendence through metaphor.
The substance of this dissertation comprises both an explanation of the ideas involved in the "script-analogue" theory, and examples of its application. In addition to the findings generated by the application of the "script-analogue" to the relationship of African women to African traditional architecture, this dissertation suggests other applications of the theory, such as evaluations of housing design in Africa, and it attempts to bridge the gap between architectural theory and practice.Ph. D.
16
Hays, Johanna A. "Louise Blanchard Bethune architect extraordinaire and first American woman architect, practiced in Buffalo, New York (1881-1905) /." Auburn, Ala., 2007. http://repo.lib.auburn.edu/07M%20Dissertations/HAYS_JOHANNA_23.pdf.
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Palleroni, Sergio. "The Valle del Yaqui Project : building the capacity of Yaqui women to help themselves." Thesis, Massachusetts Institute of Technology, 2006. http://hdl.handle.net/1721.1/35122.
Повний текст джерелаАнотація:
Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Architecture, 2006.Includes bibliographical references (leaves 208-214).
A case study and evaluation, of a low-income housing program for single Yaqui mothers in Mexico, the Programa de Vivienda Ecologica (PVE). The PVE Program is a response to the desperate housing needs of the Yaqui, which employs micro-credit lending strategies to finance the purchase of a home. The financial model allows the PVE Program to also deal with the issues of economic, social and political integration that that the Yaqui, one of the oldest and poorest native communities in the American continent, suffer. The PVE goal is to create more culturally, economical, and ecologically appropriate housing. The thesis uses economic and housing data from the Mexican government to explore the root sources of the housing problem the poor in Mexico face today. It also looks at the Yaqui's own response to the PVE program through interviews of program participants conducted in the field. A recent collaboration with US and Mexican Universities, is also investigated, and evaluated both for its capacity to contribute to this housing program, and its impact on the education of the students.
(cont.) Since both the PVE program, and University service learning outreach programs, are based on the pedagogical model of Participatory Action Research, the nature and role of these types of inquiry is explored since it forms the basis for 'reflective practice', and 'reflective engagement', the two forms of evaluation that both the students of the University Program and the PVE housing initiative are asking their members to engage in their efforts to encourage more socially and environmentally engage future citizens.
by Sergio A. Palleroni.
S.M.
18
Suri, Sabina 1973. "Yellow helmets : work and worth of women workers on construction sites in northern India." Thesis, Massachusetts Institute of Technology, 2000. http://hdl.handle.net/1721.1/70331.
Повний текст джерелаАнотація:
Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Architecture, 2000.Includes bibliographical references (leaves [58]-[61]).
The participation of women in the building sector is an exception rather than a rule. Inmost countries of the world the building industry is almost exclusively the domain of men. In India a large number of women are actively involved in the construction process itself. According to 1993-94 Statistics, the construction sector in India provided employment to 6% (5.9 million) of all employed women, constituting about 20% of the total workers in the industry. In spite of their large numbers, women construction workers are seen as secondary/ temporary workers with seldom any opportunities for training, upward mobility, wage guarantees, fringe benefits or social protections. My research has been an exploration and an inquiry of this widely observed phenomena of women construction workers and how it operates from the perspectives of the various role players in the industry, namely, the workers, contractors, intermediaries etc. The purpose is to map the existing know ledge base on the role of women workers and to identify from this mapping key issues that need to be critically examined if opportunities for women in the industry are to be enhanced. The idea has been to make vivid the experience that women have on a construction site and draw from their account implications, issues and problems that one needs to address while formulating a public policy and modifying the practice. The construction industry remains one of the least researched industries in India. There is very little research published or reliable data on numbers, working and socio-economic conditions and the position of women workers within the construction industry. Through my research I attempt to create a knowledge base and fill the lacuna in the existing literature on the subject and contribute towards a "different" understanding of the role of women workers in the construction industry.
by Sabina Suri.
S.M.
19
Dimitropoulou, Vassiliki. "Komnenian imperial women as patrons of art and architecture : what and why." Thesis, University of Sussex, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.404159.
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20
Woodhull, Margaret Louise. "Building power : women as architectural patrons during the early Roman Empire, 30 BCE-54 CE /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.
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21
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.
Повний текст джерелаАнотація:
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.
22
French, Sara Lillian. "Women, space, and power : the building and use of Hardwick Hall in Elizabethan England /." Online version via UMI:, 2000.
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Abowd, Gabriele Therese. "Making room for art case studies of midwestern women artists and their studios /." [Bloomington, Ind.] : Indiana University, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3324529.
Повний текст джерелаАнотація:
Thesis (Ph.D.)--Indiana University, School of Education, 2008.Title from home page (viewed on May 12, 2009). Source: Dissertation Abstracts International, Volume: 69-08, Section: A, page: 2990. Adviser: Lara Lackey.
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Alden, James M. (James Malcolm). "The Resolution Trust Corporation--compliance within the objectives of the enacting policy pertaining to minority and women outreach." Thesis, Massachusetts Institute of Technology, 1993. http://hdl.handle.net/1721.1/62919.
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James, Susan Helen. ""Bedroom problems" : architecture, gender, and sexuality, 1945-63." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23699.
Повний текст джерелаАнотація:
Postwar North America saw a fundamental change in the function, layout, and location of the parents' bedroom and bathroom in the typical middle-class home. This thesis argues that the representations of bedrooms and bathrooms in house plans published by the Central Mortgage and Housing Corporation (CMHC), in bathroom advertisements which appeared in women's magazines, trade periodicals, and architectural journals, and, in the 1959 film Pillow Talk, point to women's increased power in the immediate postwar years and constitute a foreshadowing of the Women's Liberation Movement of the 1960s. By revisiting the domestic landscape of postwar North America, this thesis provides an account of women's changing role in postwar society and suggests that architecture played a part in this transformation.
26
Sumertas, Firuzan Melike. "Female Patronage In Classical Ottoman Architecture: Five Case Studies In Istanbul." Master's thesis, METU, 2006. http://etd.lib.metu.edu.tr/upload/12607671/index.pdf.
Повний текст джерелаАнотація:
The aim of this thesis is to discuss and illustrate the visibility of Ottoman imperial women in relation to their spatial presence and contribution to the architecture and cityscape of sixteenth and seventeenth century istanbul. The central premise of the study is that the Ottoman imperial women assumed and exercised power and influence by various means but became publicly visible and acknowledged more through architectural patronage. The focus is on istanbul and a group of buildings and complexes built under the sponsorship of court women who resided in the Harem section of Topkapi Palace.
The case studies built in Istanbul in the sixteenth and seventeenth centuries are examined in terms of their location in the city, the layout of the complexes, the placement and plan of the individual buildings, their orientation, mass characteristics and structural properties. It is discussed whether female patronage had any recognizable consequences on the Ottoman Classical Architecture, and whether female patrons had any impact on the building process, selection of the site and architecture.
These complexes, in addition, are discussed as physical manifestation and representation of imperial female power. Accordingly it is argued that, they functioned not only as urban regeneration projects but also as a means to enhance and make imperial female identity visible in a monumental scale to large masses in different parts of the capital.
27
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.
Повний текст джерелаАнотація:
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.
28
Gurol, Pelin. "Building For Women&." Master's thesis, METU, 2003. http://etd.lib.metu.edu.tr/upload/1268689/index.pdf.
Повний текст джерелаАнотація:
This study attempts to examine the architecture in Turkey during the Early
Republican period as part of the social, economic and political context of the
modernization process of the newly founded state, focusing on the case of the ismet
PaSa Girls’
Institute in Ankara. Firstly, the education of woman in general and the Girls&
#8217
Institutes in particular are scrutinized in order to analyze the changes in the social role of women in the context of modernization in the Early Republic. Secondly, the relationship between women and the built environment is examined with reference to the changes women experienced in this context. The architectural context of the period is analyzed to examine the buildings of the Girls&
#8217
Institutes as contemporary examples of the creation of a modern built environment in Turkey. Lastly, the building of the ismet PaSa Girls&
#8217
Institute is examined in detail, by also making comparisons with other contemporary school buildings in Ankara. The building, which was constructed as a modernist school building by the foreign architect Ernst Egli in the center of Ankara, is evaluated as the representation of modern women and modern architecture for the new nation-state. So, the aim of this study is to assess the ismet PaSa Girls&
#8217
Institute in Ankara as the example of contemporary educational institutions as well as of contemporary architecture in Turkey, corresponding with the attempt of the new nation-state towards modernization.
29
Alvarez-Giboyeaux, Carmelina. "Design of an adequate women's asylum : analysis and architectonic proposal for a home for women with children in need." FIU Digital Commons, 2003. http://digitalcommons.fiu.edu/etd/1344.
Повний текст джерелаАнотація:
The purpose of this study was to architecturally design a safe space where abused women with children can go to encourage changes in attitudes, beliefs, feelings, and behavioral patterns that hold back the progress of victims toward more satisfying lives.
This study then achieves the conditions in existing battered women's shelters facilities in order to understand the building programming. Several problems were identified. Existing shelters typically isolate battered women from society, locating them far from the urban context. They encourage only minimal education and lack spaces that enhance positive thinking. Considerations for design strategies were divided into different variables: the fabric of the city, the surroundings, the private and public spaces, and elements used in therapeutic spaces such as lighting, materiality, and natural elements. This research used significant findings to create a new asylum design typology, which would be safe during the therapeutic process and prepares women for a successful social integration.
30
Li, Pingping. "Typological transformation of courtyard house in Lijiang area women and nuclear space of Naxi dwelling /." Click to view the E-thesis via HKUTO, 2005. http://sunzi.lib.hku.hk/hkuto/record/B31564215.
Повний текст джерела
31
Benedikt, Eva Kjarvalsdottir. "Income generation activities for women in developing areas : a micro-planning model." Thesis, Massachusetts Institute of Technology, 1988. http://hdl.handle.net/1721.1/71393.
Повний текст джерела
32
Ghodousi, Shayan. "The Role of Architecture in Systemic Gender Inequality: National Organization for Women's Headquarters." Thesis, Virginia Tech, 2021. http://hdl.handle.net/10919/104056.
Повний текст джерелаАнотація:
Nowadays, the world is facing an ocean of social problems and different types of oppressions and systemic inequality from east Asia all the way to North America can be found regarding this issue. With pointing social oppression out, a long list of groups of people is considered including immigrants, religious people, LGBTQ, black society, native Americans, Latinos and etc. as well as the difficulty of relationship between these people with other groups. Many of these problems are the outcomes of the government behavior and written laws in the country's constitution which caused an inequality in society and daily life.
Having said that, one of the most important questions is "what is the role of architecture here or what more can architecture do to solve any of those social problems?" In fact, the role of the governments is determinative and some of the social problems should be solved by the government, but architecture, in many different programs, could educate people to learn more about each other which in this case, in society scale, lots of social inequalities would be mitigated.
While looking at several studies about social oppression and learning more about different types of groups in society, I decided to narrow down the strata to find an appropriate audience for my thesis project. In my opinion, one of the most interesting group of people in every society all around the world is women. My main focus in this research is to discuss more about women's future in society and argue political issues that women are facing nowadays. According to the rich history of the National Organization for Women (NOW) and the wide range of activities that this organization has done for women's rights, I decided to choose NOW as my case study to re-imagine a new Headquarter at the middle of the Washington D.C in a very fast growing Navy Yard neighborhood at the intersection of the M Street SE which is main corridor of this neighborhood and New Jersey Avenue SE which is a direct way to the U.S. Capitol Building . To sum up, my goal in this project is to bring architecture to help the oldest women's organization in the U.S. in a new decade of politics for women.Master of Architecture
All around the world people must deal with social problems and systemic inequality issues. Women as the most vulnerable and valuable group of people in the world we live are the main audience for this thesis project. This study focuses on discussing more about the women's future in society regarding political issues that they are facing nowadays, also it emphasizes the role of architecture in solving any of these social problems. This project is about designing a new headquarters for the National Organization for Women (NOW), currently located in Washington D.C, as the main case study to help the oldest women's organization in the U.S. in a new decade of politics for women. The outcome of developing this research is to send a greater symbolic message about the women's future, a symbol that represents efforts and movements. In a way of educating people about future politics or trying to get the people together, hosting some of the most important conferences in the country, and making a platform to identify different cultures, this project is going to be a new landmark of the neighborhood.
33
Karsten, Laurie. "Trauma and Transformation: a center for trafficked women in India." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1337101748.
Повний текст джерела
34
Asif, Noor A. "Women Surrealists: Muses or Seekers?" Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/826.
Повний текст джерелаАнотація:
Surrealism has often been labeled as a misogynistic movement that sought to provide man with an avenue into a higher reality at the expense of the humanity of women. By perceiving the opposite sex as their muses, Surrealist men rendered women as mysterious sources of the marvelous, the name given to the higher realm, which they desired to attain. I propose that Surrealist women were empowered by the fact that ‘woman’, as an abstract concept, and femininity were synonymous with the marvelous. This entailed that Surrealist women had the advantage of being “sources of revelation, as provokers of wonder, dreams, and freedom,” whose intellectual agency allowed them to delve into their own femininity in order to attain the higher reality that Surrealism was devoted to unlocking. In contrast from Surrealist men who relied on the image of woman to lead them to this superior realm, Surrealist women were able to look within themselves in order to comprehend the marvelous. Conversely, Surrealist women often reversed the idea of the muse, by exploring their feminine unconscious through the objectification of men.
35
AYERS, AMANDA KAY. "WOMEN, ENVIRONMENT, AND HEALING: A BATTERED WOMEN'S SHELTER." University of Cincinnati / OhioLINK, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1070897265.
Повний текст джерела
36
King, Sally Anita. "Thresholds in the Urban Environment: Women and Children's Shelter." Thesis, Virginia Tech, 2002. http://hdl.handle.net/10919/41796.
Повний текст джерелаАнотація:
The premise of this thesis is to explore the transition of spaces through thresholds. This exploration begins with the urban environment and how one transitions through spaces into private spaces. In particular, this thesis addresses battered women and children and how their transition in life relates to transitional spaces. The journey began with research of precedence. However, the existence of shelters for battered women and children is relatively new. Therefore, I began at the roots of housing, community housing, monasteries, orphanages and dormitories. I also drew from my own experiences with roommates, dorm life and group situations.
This design reflects the transition of spaces and how that relates to the life of battered women and children. The site is located in Washington, DC.Master of Architecture
37
Menéndez, Lilian. "Creating Healing Spaces, the Process of Designing Holistically a Battered Women Shelter." Scholar Commons, 2001. https://scholarcommons.usf.edu/etd/1539.
Повний текст джерелаАнотація:
My interest in the environment has led me to study the effects of space on people, both natural and man-made. This project explores how architects and designers can design spaces conducive to the healing process. The emphasis of this thesis is on my design methodology, with the hope that this project will help other designers in their struggle to create spaces that heal the body, soul and spirit.
To develop this project, I chose a shelter for battered women as the building type. This shelter is theoretically located in Bayamón, Puerto Rico. Its main goal is to create an environment in which battered women can recuperate physically, emotionally and spiritually.
In order to accomplish this, I first studied my personal responses to a variety of built, as well as, natural spaces. I used two types of case studies, one looking at spaces and the other looking at the building type. Besides utilizing traditional building analysis, I also used literature to study space, since it allows me to study human’s reaction to space.These helped to shed light on why or why not certain spaces fulfill the building’s purpose. Later, through a series of art workshops with women at a local shelter, I was able to better understand the user. These workshops culminated in a collaborative art installation in which their reality and mine were combined. In addition, I researched other fields that are also trying to understand why we respond to space the way we do. Some of these fields are environmental psychology, sociology, behavioral studies, and art. Their findings led me to design flexible spaces that allow each woman to shape their own space, and spaces that appeal to all six senses.
Following this exploration, I developed a program to meet the user’s requirements. This program described a prototypical facility that embodies ideal conditions. I then explored this program and its spatial requirements through physical models. A series of models interacting with the site gave birth to three design concepts. From these various schemes, a final design was selected and brought to the design development phase.
38
Speaks, Elyse Marie Deeb. "The architecture of reception : sculpture and gender in the 1950s and 1960s /." View online version; access limited to Brown University users, 2005. http://wwwlib.umi.com/dissertations/fullcit/3174676.
Повний текст джерела
39
Al-Ansari, Mae. "Masked in the Protective Act: Women, Public Housing & the Construction of ''Modern/National'' Identities in Kuwait." University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1479817691274608.
Повний текст джерела
40
Ziaee, Armaghan. "Transnational Modernization and the Gendered Built Environment in Iran: Altering Architectural Spaces and Gender Identities in the Early Twentieth Century (1925-1941)." University of Cincinnati / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1535373539561694.
Повний текст джерела
41
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.
Повний текст джерела
42
Marianacci, Caitlyn D. "Old Masterpieces, New Mistress-pieces: Cindy Sherman's Reinterpretations of Renaissance Portraits of Women." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/840.
Повний текст джерелаАнотація:
This thesis examines a selection of eight photographs in the History Portraits series by American photographer, Cindy Sherman, produced from 1989 to 1990. The photographs are based on Renaissance paintings of biblical and secular women painted by old master artists such as Leonardo da Vinci, Sandro Botticelli, and Raphael. Sherman focused on the female types of Biblical mother and femme fatale, as well as wives and models. These types are defined in their relation to men and are depicted by men. In Sherman’s reinterpretations of their portraits, she retells the stories of these women in ways that reaffirm their independence and power that have been shrouded in a history told and controlled by men. With herself as her model, she altered aspects of the images, using the technique of caricature for humor as well as critique. Sherman subverts the idealization of the Renaissance portraits of women by exaggerating features and eliminating aspects of the original portraits to reassert the women’s individuality.
43
Massey, Carissa. "Mary Colter southwestern architect and innovator of indigenous style /." Huntington, WV : [Marshall University Libraries], 2003. http://www.marshall.edu/etd/descript.asp?ref=233.
Повний текст джерела
44
Li, Pingping, and 李萍萍. "Typological transformation of courtyard house in Lijiang area: women and nuclear space of Naxi dwelling." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B31564215.
Повний текст джерела
45
Howes, Rosanne. "The temple within : house as symbol of God, self, and body." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22543.
Повний текст джерелаАнотація:
This thesis examines the house as symbol of God, self, and body. This is a way to explore the expression of individuality both incorporated in, and invoked by the middle-class single family home, particularly for women. The theme, "the temple within," is intended to create a conceptual framework for the identification of activities which give the elements of the house meaning for the occupants. The elements of house, garden, hearth, entrance, windows, attic/stair/cellar, and walls and spaces, are identified through the analysis of primary sources. These are the Canada Mortgage and Housing Corporation Competition Series stock plans from 1947 to 1963, as well as two suburban homes from the Carlington neighbourhood in Ottawa, Ontario. The thesis concludes with a discussion of the appropriateness of these symbols of home as a vehicle for women's identity of self.
46
Strasik, Amanda Kristine. "Reconceiving childhood: women and children in French art, 1750-1814." Diss., University of Iowa, 2016. https://ir.uiowa.edu/etd/5647.
Повний текст джерелаАнотація:
My dissertation examines visual representations of children and childhood in French art from the 1750s until the first decades of the nineteenth century. This period in France is distinct because of the sweeping social and political changes with which images of children and childhood were in dialogue, including the redefinition of bourgeois familial relationships, new medical discoveries that influenced how artists interpreted the human mind and body, the chaos of the French Revolution, and the rise of Napoleon and his codification of the laws of nature.
By 1750, Enlightenment thinkers and social reformers viewed the education, nurturing, and protection of innocent children as among the fundamental moral acts that defined humanity. Childhood, once considered insignificant, became a special period of human development that women were naturally suited to cultivate. Amidst the corruption of the Ancien régime, the violence of the French Revolution, and the instability of the state, children were unthreatening emblems of social regeneration and hope.
Throughout my dissertation, I explore how the complex written and visual language of nature informed artists’ conceptions of children and childhood during the long eighteenth century. Opposing themes of nature’s wildness, containment, wholesomeness, and mysteriousness in different forms paralleled discourses on children and child-rearing. Prominent eighteenth-century artists like Chardin, Boucher, Fragonard, Greuze, Vigée Lebrun, Marguerite Gérard, and others analyzed contemporary scientific, philosophical, artistic, and pedagogical movements to depict children naturally. Even when Romantic artists like Géricault or Prud’hon imagined nature as a dangerous or mystical entity, the emphasis on the unique truthfulness of a child’s character continued to be a subject of great interest, especially when the scientific community recognized child psychology and pediatrics as their own fields of medical study in the early nineteenth century.
Compared to studies that have broadly surveyed the ideologies of childhood as reflected in art, my dissertation investigates the socio-historical contexts in which representations of children were commissioned, produced, and displayed. Why did revolutionary events, artists, and patrons appropriate images of the enlightened child? I propose that representations of children from this period offer indisputable symbolic value: they functioned emblematically to advance the morality of a woman’s reputation, or to philosophically communicate an idea about the state of French society during key moments of social and political upheaval. Through a study of images of pastoral children for Madame de Pompadour, representations of bourgeois children with pets, portrayals of the royal children during the French Revolution, and Romantic depictions of children in portraiture, my dissertation traces the socio-historical implications of the representations of children and childhood to make way for new interpretations of artworks.
47
Chaudhary, Anindita R. "Gender norms and taboos as manifested in dichotomies of space." CardinalScholar 1.0, 2009. http://liblink.bsu.edu/uhtbin/catkey/1538079.
Повний текст джерелаАнотація:
Dichotomies are a way we simplify interconnected hierarchical complexities of race, class, ethnicity, gender and power plays in our society. The division between male and female has been the primary dichotomy I have focused on in this discussion. My argument is that dichotomies create a cyclical loop which reinforces social injustice between genders in societies cross culturally and across time. This cycle of gender division includes cultural, built and activity patterns. There is no single point of origin of these patterns, but rather a constant loop of reinforcement from one pattern to the other.
What I am trying to do here is not judge or criticize these societies and their values; rather I am evaluating them comparatively with other societies based on the status of women. I have found these cultural, built and activity patterns by documenting examples that exist cross culturally and across time. In order to do this I had to set up some criteria for selecting my case studies. I have divided the examples into four categories:
1. Egalitarian subsistence societies having equal status for women with respect to men and other women in similar cultures.
2. Hierarchical societies having lower status of women with respect to men and other women in a similar culture.
3. 19th and 20th century case studies in urban societies having lower status of women with respect to men.
4. 19th and 20th century case studies in reforms and utopian proposals that aimed at making egalitarian societies with equal status among men and women.
I found that the public/private cultural pattern was the most recurring pattern. It is present in egalitarian, hierarchical and 19th and 20th century Victorian society. This pattern exists cross-culturally and across time. In the egalitarian subsistence societies, dichotomies are not understood as a set of oppositions such as superior and inferior. Their belief in harmony and balance in nature emphasized equality, unlike the hierarchical societies. In hierarchical subsistence societies, dichotomies divided people by assigning them public or private roles. In 19th and 20th century Victorian society an ideal gentleman was supposed to have serious, dignified, chivalrous qualities and an ideal lady was supposed to be moral, beautiful, cheerful and elegant. This shows that the cultural patterns were enforced upon individuals and they had to act accordingly in the society. I also looked at the utopian solutions of making childcare, laundry, and food preparation community activities. These radical solutions were focused on improving the cultural, built and activity patterns simultaneously. I have evaluated these case studies comparatively based on the status of women.
While it’s difficult to state a solution to accommodate the layers of gender segregation that exist within cultural, built and activity patterns, I don’t think proposing an overtly radical solution is the right direction either. I would strongly recommend more awareness of feminist education in architecture and engineering schools. There should be more incentives and scholarships for women in traditionally male dominated professions like architecture and engineering. Learning about these patterns of gender segregation in different societies is also a way to begin this cultural progress.Historical case studies of gender segregated patterns in egalitarian subsistence societies -- Case studies of gender segregated patterns in hierarchichal subsistence societies -- 19th and 20th century case studies for gender segregated patterns in urban societies -- 19th and 20th century case studies in reforms and utopian proposals.
Department of Architecture
48
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.
Повний текст джерелаАнотація:
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
49
Zaker, Farniyaz. "Allegories of the veil." Thesis, University of Oxford, 2015. http://ora.ox.ac.uk/objects/uuid:1285e8e1-b9bb-4f0e-b17a-962377646957.
Повний текст джерелаАнотація:
'Allegories of the Veil' analyses the relationship between architecture and clothing as architecture. It expands the meaning of dwelling and of dwelling places (as they have been defined and conceptualised by scholars such as Martin Heidegger and Edward Casey) from architecture to women's dress. People's awareness of space and their interaction with it are crucially mediated by where and how they dwell. Moreover, dwelling greatly influences behaviour. This study interrogates the way in which building belongs to dwelling. It conceptualises specific women's clothing (the traditional dress and the veil [chador in Farsi]) as a dwelling place that influences (limits) women's spatial awareness and movement in space. It argues that once women's clothing has shaped the behaviour and awareness of women (mirroring the organisation of social relations) it becomes like a habitus. In that sense, clothes are not only physical but also generative spaces which can be translated into social space (and vice versa). Last but not least, this study explores how the changing architectural cityscape of Iran has altered the meaning of private and public space in the country. It argues that contemporary domestic architecture in Iran has disturbed the continuity of design and architectural forms, which previously had been an inherent feature of all architectural spaces in the country, including women's clothing. These new forms disrupted the complementary relationship between the chador as an enclosed space and as an extension of the domestic sphere, as well as facilitating the fast encroachment of modernity on traditional architectural places, including the 'chādor'.
50
Medema, Kara N. "Chiyo-ni and Yukinobu: History and Recognition of Japanese Women Artists." FIU Digital Commons, 2018. https://digitalcommons.fiu.edu/etd/3914.
Повний текст джерелаАнотація:
Fukuda Chiyo-ni and Kiyohara Yukinobu were 17th-18th century (Edo period) Japanese women artists well known during their lifetime but are relatively unknown today. This thesis establishes their contributions and recognition during their lifespans. Further, it examines the precedence for professional women artists’ recognition within Japanese art history. Then, it proceeds to explain the complexities of Meiji-era changes to art history and aesthetics heavily influenced by European and American (Western) traditions. Using aesthetic and art historical analysis of artworks, this thesis establishes a pattern of art canon formation that favored specific styles of art/artists while excluding others in ways sometimes inauthentic to Japanese values. Japan has certainly had periods of female suppression and this research illustrates how European models and traditions of art further shaped the perception of Japanese women artists and the dearth of female representation in galleries and art historical accounts.