TVAD RESEARCH SEMINARS Feminine and Plural Women Architects and Designers Paths and Projects Ana...

TVAD RESEARCH SEMINARS

Feminine and Plural Women Architects and

Designers Paths and Projects

Ana Gabriela Godinho Lima February, 2014

TVAD RESEARCH SEMINARS

Equipe

Professora Coordenadora:Profa. Dra. Ana Gabriela Godinho Lima (FAUMACK)

Pesquisadores consultores:Profa. Dra. Cecília Rodrigues dos Santos (FAUMACK)Profa. Dra.Maria Alice Junqueira BastosProf. Dr. Michael Biggs (University of Hertfordshire)Prof. Dr. Rafael Perrone (FAUMACK/FAUUSP)Profa. Dra. Ruth Verde Zein (FAUMACK)

Equipe de pesquisaProfa. Ms. Fanny Schroeder de Freitas Araujo (DoutorandaFAUMACK)Arquiteta Agnes Del ComuneArquiteto Márcio Barbosa Fontão Alunos de Pós-graduação FAUMACKMs. Andraci Maria AtiqueMarianna dal Canton Martignago

Alunos de graduaçãoDaniela Risso de BarrosFernando Romano

http://buscatextual.cnpq.br/buscatextual/visualizacv.do?id=K4777935U3



http://buscatextual.cnpq.br/buscatextual/visualizacv.do?id=K4779168Z6

http://buscatextual.cnpq.br/buscatextual/visualizacv.do?id=K4711073P4



http://buscatextual.cnpq.br/buscatextual/visualizacv.do?id=K4230182T8



http://buscatextual.cnpq.br/buscatextual/visualizacv.do?id=K4787219J3



http://buscatextual.cnpq.br/buscatextual/visualizacv.do?id=K4795719Y6











Feminine and Plural: Women Architects and Designers Paths and Projects

This research project investigated architectural and design processes from the perspective of gender. It employed a combination of literature review and interviews with women architects and designers, in order to identify and describe how gender affects the way women design. It has been assumed that design practice, as a cultural practice, carries the identity marks of the person who does it, gender among them.

Nevertheless, the initial conclusions point out that the gender perspective, within the design process, seems not to interfere directly in the ways women design. The initial conclusions draws on Nigel Cross’ reasoning in his seminal article “Designerly Ways of Knowing” (1982/2001). Here the authors claims the existence of a third area of knowledge “design”, standing side by side with “science” and humanities”.


Gender and Architecture have been mainly out of the Brazilian academic agenda for the last decades. Previous academic works on the theme are rare and result of individual efforts.

Recently, the debate seems to be receiving more attention, in Brazil and worldwide. Episodes as the online petition in support of recognizing Denise Scott Brown for her work in Robert Venturi’s 1991 Pritzker Prize, illustrate a renovated interest in discussing the issues relating architecture and gender.

Events, publications and exhibitions nowadays claim that women still are less recognized and less paid for the same work in architecture. In addition, social difficulties such as various types of harassment are the main topics addressed by academic research.


“The low number of women architects in decision-making positions and running offices is the evidence of an unequal professional situation that has not been addressed properly.” Call for papers - 1st Symposium on Architecture and Gender ETSASevilla, Universidad de Sevilla 20-21.03.2014

The Pi group works in São Paulo since 2009 with a variety of languages: performance, theatre, dance, photography… Integrated by women, they work mainly in the city spaces – streets, sidewalks, squares, etc..


Franck, Karen A. A Feminist Approach to Architecture: Acknowledging Women’s Way of Knowing. In: Jane Rendell, Barbara Penner and Iain Borden. Gender Space Architecture: An interdisciplinary introduction. London and New York: Routledge, 2000. (Originally from Ellen Perry Berkeley, Architecture: A Place for Women, 1989)

The qualities that seem to characterize women’s way of knowing and analyzing appear variously in social-architectural research conducted by women, in alternative communities proposed by women, and in projects designed by women.Evidence that such qualities exist or that they distinguish women from men is suggestive at best.

The test for this essay, however, is not in the scientific persuasiveness of the evidence but in the degree to which the descriptions resonate with women’s own experiences in architecture and in everyday life. One goal is to help women in architecture to identify qualities and concerns in themselves that are often unrecognized and suppressed in architectural education, research and practice. A second goal is to celebrate these qualities and concerns; a third is to work toward a profession that is more hospitable to feminist practitioners and that produces an environment more attuned to people’s needs..


•Connectedness and Inclusiveness

•Ethic of Care and Value of Everyday Life

•Value of Subjectivity and Feelings

•Value of Complexity and Flexibility


Montessori School Delft, 1960-66 Herman Hertzberger

Herman Hertzbergerhttp://www.e-architect.co.uk/architects/herman-hertzberger


/


Tina Chanter. Gênero: Conceitos-Chave em Filosofia. Porto Alegre: Artmed, 2011. (Gender: Key Concepts in Philosophy. London, Continuum International Publishing Group, 2006.

Contrary to this dualistic model, good postmodernists that we are, we have learned that there is no Cartesian-style inner essence of gender (mind/spirit) that the body expresses, rather there is only a series of performative acts which signify and resignify gender. Gender is not something that is ‘inside’, a pre-existent essence, waiting to find bodily expression.

There is no inner truth awaiting ‘authentic’ or ‘proper’ realization in bodily as material acts. Gender is always lived, gestural, corporeal, culturally mediated and historically constituted. It is not that we have a core, essential, unambiguous femininity or masculinity struggling to get out, or to find appropriate expression. Rather, there are cultural dictates, according to which subjects construct themselves, by appropriating and sometimes reinventing or subverting historically situated gender codes.


Penny Sparke. As Long as it’s Pink: The Sexual Politics of Taste. The Press of Nova Scotia College of Art and Design, 2010.

Given that the majority of the goods we consume have been mass produced or “mediated” by the processes of industrial manufacture and commercial distribution, our private, interior spaces – and often our public spaces – are not only part of a spatial, material, and visual reality but are also, perhaps more significantly, representations of idealized environments that are “mediated” through lifestyle and interior magazines, shop windows, exhibitions, and voyeuristic television programmes. These idealized environments, like feminism, are intrinsically linked to and defined by the media.


Francesca Hughes. The Architect: Reconstructing her Practice. Massachussets Institute of Technology, 1996.

At a moment when the architectural profession is beginning to shift from its traditionally male domination, The Architect: Reconstructing Her Practice examines how the introduction of women to the main body of architecture might bring about a reconstruction of the orders that pervade architectural production and consumption.In a collection of autobiographical essays in which practice is both the site and the vehicle for change, twelve American and European architects reflect on the nature of critical practice and its relation to architecture. The contributors were chosen not only for the distinguished quality of their work, but also for the range of architectural practices they collectively encompass--from the intersection of theory and philosophy to the intersection of building process and industry. Together, they present a compelling and provocative critique of architectural culture. All show a willingness to transgress the various mediums and territories of architecture, to recover and reopen certain discussions lost in the architectural discourse they have inherited.


9 women architects have beenInterviewed in a 6 months period.

Our attention have been focused on theirdiscourses when describing a project selected and designed by her.

What emerge more strongly was a “professional discourse”, rather than a “gender discourse”.


Projects

The 6 architects selected projects themeswere:

4 residential projects1 Store1 Urban design

The 3 designers selected projects were:

1 Stained glass design restoration2 Package Design3 Artistic path


Interview Architect Maria Augusta Pisani | Project: residential project

https://www.youtube.com/watch?v=yvVLjwAZlAE


Interview Architect Daniela Getlinger | Project: residential project

https://www.youtube.com/watch?v=bma8TQFvJZk


Interview Architect Vera Osse| Project: Cloth Store

https://www.youtube.com/watch?v=BYfguBbrHI4


Interview Architect Denise Polonio | Project: residential project

https://www.youtube.com/watch?v=pFfvXKw6Fs8


Interview Architect Silvia Chile| Project: residential project

https://www.youtube.com/watch?v=iWgv2e6lxto


Interview Architect Maria Assunção Franco| Project: urban design

https://www.youtube.com/watch?v=maOXpleIb9E


Interview Designer Regina Lara | Project: Stained glass design restoration

https://www.youtube.com/watch?v=n8_FfKWo_-I


Interview Designer Grace Kishimoto | Project: package design

https://www.youtube.com/watch?v=NSwLErIR9cY


Interview Designer Fanny Feigenson | Project: artistic path

https://www.youtube.com/watch?v=C5QSWs2mfuA


The initial conclusions point out that women architects and designers do not seem to have a gender consciousness* that guide their projects.On the other hand, we may suggest that throughout the design process, women sustain internal dialogues, with internal voices that are not necessarily “gendered”. As we have referred in a previous article (Lima, 2009), during the design process, architects and designers, women and men, “cite” other voices.

“These acts of citation shape our perceptions of ourselves and of

others as we negotiate, helped by these narratives, subjective

identities and acceptable socialization scenarios. In

architecture, sketches, for instance, may well consist in examples of acts

of citation.”


Casa Campos do Jordão, 1986, Anne Marie Sumner.

Museu da Cachaça, Salinas, 2006. Jô Vasconcellos

Kate Otten, Olifantsfontein Library, Olifantsfontein,

South Africa.

Av Houses, CorsiHirano, Avaré, 2011.

BT House, Guilherme Torres,

Maringá, 2013.

J House, Jun Aoki, Japan, 2007.


LINA BO BARDI arquiteto(1914-92)


Nigel Cross, 1982. Designerly ways of knowing. Design Studies, 3 (4): 221-227.

Each culture is dedicated to study, reflect and analyze a category of phenomena.

If sciences are devoted to the natural world and the humanities addresses the human experience,

in design we are interested in the man-made world.

As a consequence, the appropriate methods to investigate relevant events in each culture emerge from this reasoning, leading to the proposition that each field would be more acquainted with a set of methods. In the sciences, for instance, the more suitable investigation procedures involve controlled experiment, classification and analysis. Humanities works better with methods employing analogies, metaphors, criticism and evaluation. Design, in its turn, engages its researchers in activities like modeling, pattern-formation and synthesis.


Thanks!

[email protected]

femininoeplural.wordpress.com

TVAD RESEARCH SEMINARS Feminine and Plural Women Architects and Designers Paths and Projects Ana...

Documents

Transcript of TVAD RESEARCH SEMINARS Feminine and Plural Women Architects and Designers Paths and Projects Ana...