By Elizabeth Danze, Debra Coleman
Over the past a number of many years, feminists and designers have independently constructed opinions of recent Western assumptions and cultural practices. Architecture and Feminism addresses the intersection of those probably disparate fields via a full of life and numerous selection of essays and initiatives, together with interdisciplinary investigations of literature, social background, domestic economics, and paintings history.
Articles research such various issues as Niki de Saint-Phalles exuberant building-sized woman sculpture Hon, the aesthetics and politics of the Playboy bachelor pad, Edith Wharton's principles on family structure, and the Legend of grasp Manole, a disquieting japanese ecu folktale that prescribes the ritual entombment of girls within the partitions of structures, whereas visible initiatives take recognized constructions by means of Philip Johnson and Louis Sullivan as issues of departure for a feminist analyzing of architectural historical past. instead of proposing a unmarried, didactic place, this assortment bargains a variety of clean voices to explain the cross-connections and shared issues among structure and feminism.
Contributors to Architecture and Feminism comprise Manuela Antoniu, Vanessa Chase, Deborah Fausch, Molly Hankwitz, Susan R. Henderson, Amy Landesberg, Lisa Quatrale, Christine S. E. Magar, Mary McLeod, and George Wagner.
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Although de Certeau discusses many activities in which women are centralleisure, consumption, cooking-he rarely considers these subjects in terms of their particular implications for women. Nonetheless, his interest in resistance and in minority positions and his MARY McLEOD insistence on the specificity of place and the particularity of subject positions makes his writing especially relevant to those groups whose creative activities and tactics of resistance have been traditionally obscured. j2.
In Leaming from Las Vegas, the authors characterize the modern movement as "heroic and original," "violent, high adventure," "a bunch of angry young men under MARY McLEOD FIG. 18 Denise Scott Brown and Robert Venturi, Signs of Life: Symbols in the American City. exhibition, Smithsonian Institution, Washington, D. " No less acerbic are their remarks about contemporary architecture in 1970. "50 Scott Brown and Venturi's critique of the heroic gestural designs of the 1g6os might apply equally well to more recent deconstructivist works: Our heroic and original symbols, from cm-ceri to Cape Kennedy, feed our late Romantic egos and satisfy our lust for expressionistic, acrobatic space for a new age in architecture.
26 In fairness, it should be noted that this exclusionary attitude is not the sole province of the deconstructivists. American and European postmodernists and proponents of regionalism are equally blind to the issues of the non-Western world beyond Japan. Most recently, the same charge might be brought against the Deleuzean "de-form" nexus, despite its rhetoric of continuity and inclusion. 27 These blatant social exclusions, under the mantle of a discourse that celebrates "otherness" and "difference," raise the issue of whether contemporary theorists and deconstructivist architects have focused too exclusively on formal transgression and negation as a mode of practice.
Architecture and Feminism by Elizabeth Danze, Debra Coleman