By Nicky Rackard, Arch Daily
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Looking back on architectural history, you could be forgiven for thinking that women were an invention of the 1950s, alongside spandex and power steering. But this couldn’t be further from the truth. Big names like Le Corbusier, Mies, Wright and Kahn often had equally inspired female peers, however, the rigid structure of society meant that their contributions tended to be overlooked. ?In honor of International Woman’s Day 2013, we'd like to take a look at the 10 greatest overlooked women in architectural history.
Born in 1869 in?Santiago, Chile to a Chilean father and American mother, Sophia Hayden Benett was the first woman to receive an architecture degree?from?MIT?when she graduated in 1890. The degree, however, did not guarantee work; after searching fruitlessly, Hayden Benett resigned to accepting a job teaching technical drawing in a Boston high school.
In 1891,包邮天然水草玛瑙, Hayden came across an announcement calling on women architects to submit designs for the Woman’s Building, which would form part of??gargantuan World’s Columbian Exposition in?Chicago.?Hayden’s proposal, based upon her college thesis, was for a three story building in the Italian Renaissance style. Hayden’s design won first prize out of the field of thirteen entries. Only twenty-one at the time, Hayden received $1,000 for her design, which was a tenth of what many men received for theirs.
However, during the construction of the building, Hayden experienced constant micro-management from the construction committee. So much stress was put on the young woman that she suffered a break down and was placed in a sanitarium for a period of enforced rest, leading many at the time to view her as proof that women had no place in the world of architecture. After the exhibition, Hayden never worked as an architect again.
Marion Mahony Griffin, was not only one of the first licensed female architects in the world, but was the first employee of?.
Born in 1871, she studied architecture at MIT. After graduation she began working for her cousin, who happened to share a building with several other architects including Wright, who hired Mahoney in 1895. Being his first employee, Mahoney exerted a considerable influence on the development of his Prairie style, and her watercolor renderings soon became synonymous with Wright’s work. As was typical for Wright at the time, he credited her for neither. Their collaboration ended in 1909 when Wright left for Europe, offering to leave the studio’s commissions to Mahoney, who declined. However, she was subsequently hired by Wright’s successor, under the condition that she was in full control of design.
In 1911 she married Walter Burley Griffin, who also worked with Wright. The two set up a practice together and before long they won the commission to design the new??capital?.?The couple moved to?Australia?to oversee the project, later moving to India where they continued to work until Griffin died in 1937. After his death, Mahoney refrained from working in architecture until her death in 1961.
Eileen Gray was born into a wealthy aristocratic family in Enniscorthy,??in 1878. After studying art in?, Gray moved to??in 1902 to further her studies.
Having studied lacquer work in Soho, Gray set up a studio with??craftsman Seizo Sugawara to perfect her skills. She gained notoriety through her domestic lacquer wares and she was soon being offered interior design commissions by wealthy patrons. Notably architectural, her designs used?lacquer screens to divide space, blurring the lines between furniture and architecture.
Using her experience in interior design, she designed E-1027 �- a holiday home in the south of???-- with her lover Jean Badovici. The house became a test-bed for Gray to work with radical furniture designs, leading to some of her most iconic work.?After splitting with Badovici, Gray felt distant from the house. One person who didn’t, however, was?.?He became obsessed with E-1027, building a small home for himself nearby and one day sneaking in to vandalize it with his own murals.
Gray devoted the rest of her life to architectural designs. In 1937 her designs for a holiday centre were featured in Le?Corbusier’s Esprit Nouveau pavilion at the Paris?Exposition. However, she distanced herself from the community and only two other projects, both designed for her own use, were ever built. By the end of the 1960s her work was all but forgotten. She died in 1976.
There is currently an exhibition running in?Centre Pompidou in Paris aiming to reinstate Gray’s reputation as one of the central pioneers of modernism alongside Le Corbusier and Mies Van der Rohe.
Many of??most famous works, particularly in the area of furniture design, would not have been possible without this woman. It is said that Mies rarely asked for anybody’s opinion, but was always eager to hear hers.
Born in? in June 1885, Reich moved to??after high school to train as an industrial embroider �- a design?career?considered suitable for women at the time. Upon returning to Berlin in 1911, she worked as a fashion and furniture designer and joined the German work federation, Deutscher Werkbund, becoming its first female director in 1920.
Her work as a designer took her to??where she met Mies Van der Rohe. The two became very close and she began working in his office. In 1928, the duo were appointed artistic directors of the German pavilion at the Barcelona World exposition, leading to?,?long considered one of the defining works of modernism.?Shortly after, Mies appointed Reich as the director of building at the??school. Her tenure was cut short when the school closed in 1933 under pressure from the National Socialist party.
During the war Reich took on a few small jobs, but her 12-year partnership with Mies ended?when he left for America in 1937. Remaining responsible for his affairs in Berlin, she managed to save over 4,000 of his drawings from bombing during WWII when she smuggled them to a barn outside of Berlin. In 1939, however, her studio was destroyed and she was drafted into an involuntary civil engineering organization, where she remained until 1945.
After the war she took a job lecturing interior design and building theory at Berlin University of the Arts. She also partook in meetings to revive the Werkbund, but died in 1947 three years before it gained legal status.
Studying furniture design in Paris, Charlotte Perriand applied for a job at Le Corbusier’s studio in 1927. Unimpressed, he dismissed her work with the comment: “We don’t embroider cushions here.” However, later when her work was put in?display?at the Salon d’Automne, he changed his mind, and offered her a job in furniture design.
A year after joining his studio, Perriand had already produced three of Le Corbusier’s most iconic chair designs, the B301,新款巴西玛瑙手镯, B306 and the LC2 Grand Comfort.
As Perriand’s views moved futher to the left in the 1930s, she became involved in many leftist organizations, founding the Union des Artists Moderns in 1937. Noticed for?adding humaneness to Le Corbusier’s rational work,?her designs started become more affordable, using wood and cane over expensive chrome; her aim was to develop functional and appealing furniture for the masses.
In 1940 Perriand was invited to travel to??to become an advisor for the Ministry for Trade and Industry. Two years later the ongoing war forced her to leave the country. While attempting to return to Europe she was detained by a naval blockade and forced into exile in?.?There she studied Eastern design including weaving and woodwork, which had a huge impact on her later work.
Jane Drew was an early proponent of Modernism in??and was responsible for bringing Le Corbusier’s work to?. An architect and town planner, Drew was educated in the AA in London and became one of the principal founders of MARS �- an English modernist movement based on Le Corbusiers CIAM �- founded on a principle dictating the "use of space for human activity rather than the manipulation of stylized convention.”
After tarting a practice, which was at first entirely female, in London during the war, Drew took on a number of large projects throughout the city, eventually going into partnership with her husband Maxwell Fry. In keeping with Drew’s ethos, a huge proportion of their projects consisted of??in England, West??and?
Impressed by her work in West Africa, Drew was asked by the Indian Prime minister to design?,?the new capital of Punjab. Drew was unsure of her ability to undertake the project �- at the time she was designing housing for the festival of Britain -- so she convinced fellow modernist Le Corbusier to contribute, creating a close collaboration between the two. Drew used the city to experiment with new socially conscious housing strategies, greatly affecting the design of housing throughout India.
Having completed the vast majority of her work in post-war?,??architect Lina Bo Bardi was overshadowed by the futuristic work of peers such as?.?However she has become known as an architect who always put people first in her work, creating beautiful architecture that is loved by its inhabitants.
Born in 1914, Lina Bo Bardi graduated from the??College of Architecture in 1939 and?moved to?Milan?where she set up her own practice three years later. Shortly afterwards her office was damaged by an aerial bombing. This, combined with the lack of commissions due to the war, caused her to explore other areas of her work, and in 1943 she was invited to become director of the magazine Domus.
Bo Bardi moved to Brazil in 1946, where she became a naturalized citizen five years later. The next year she was invited to set up the Assis Chateubriand Museum of Art of??(MASP), which has become one of the most important museums in Latin America. Her design had plenty of radical elements, including what are considered the first modern chairs in Brazil.
In 1948 she set up Studio d’Arte Palma with another Italian architect, with an eye to designing furniture from Plywood and "typical" Brazilian materials. In 1951 she completed the Glass House, her private residence, which became a centerpiece of modernism in Brazil.?In 1958 Bo Bardi received an invitation to move to?El Salvador?to run the Museum of Modern Art of Bahial. She eventually returned to S?o Paulo after a military coup in 1964, and her work underwent a vast simplification, becoming what she described herself as "poor architecture."
A prominent architectural theorist of the twentieth century, Anne Tyng became central to the designs of?,?with whom she had a daughter.
Anne Tyng was born in??in 1920 to Episcopal missionaries. In 1942 she became one of the first women to be admitted to the Harvard Graduate School of Design, where she studied under?. After graduating she went on to work for several??offices before moving to??to join Kahn’s firm, Stonorov & Kahn. When the firm split in 1947 Tyne continued working for Kahn.?She never designed a building of her own, but, due to their shared fascination with geometry, she became critical to Kahn’s work. Some described her as his muse; Buckminster Fuller preferred to call her “Kahn’s geometrical strategist.” Many of Kahn’s designs show her influence, such as Trenton Bath House and the?. Kahn’s “City Tower" was mostly the work of Tyng.
A woman of firsts, Norma Merrick Sklarek was the?first African-American woman to hold an architecture license, first to earn a license in??and first African-American woman to be elected a fellow at the?.
Born in??in 1926, Sklarek found it difficult to find work with firms in New York, despite having a degree from Columbia University. As she said, “They weren’t hiring women or African Americans, and I didn’t know which it was [working against me].” Eventually she secured a job in?.
In 1960 she moved to California to work for?,?where she recalled feeling pressure because of her gender and ethnicity. Despite this she quickly rose through the ranks and was named director of the firm in 1966. Throughout her?career?Sklarek gained a reputation as an excellent project architect, regularly completing?huge projects, such as??Terminal 1 and the U.S. Embassy in?, on time and under budget.
She left Gruen and Associates in 1980 and co-founded Sklarek, Siegel and Diamond,特价玛瑙手镯, which became the biggest, female-only firm in the country.
Denise Scott Brown, along with her partner?, had an enormous?influence on the development of architectural design during the twentieth century. Her critiques are credited with changing the way many architects and planners saw mid-century?and?. Many were surprised when her husband was awarded the??in 1991, and she failed to?receive?a mention.
Born in 1931 in, then, Northern Rhodesia, Scott Browne studied first in South Africa and then London. In 1958 she moved to Philadelphia with her first husband Robert Scott Browne, who died in a auto accident a year later.
In 1960, Scott Browne completed her masters in planning at the University of Philadelphia where she became a faculty member, completing a masters in Architecture shortly afterwards. It was here that she met her future husband and partner Venturi.
Browne travelled extensively as a scholar, sparking her interest in the relatively young Los Angeles and?. While teaching at Yale University from 1967 to 1970, she designed studio classes called "Learning from Las Vegas." Scott Brown,?along with Venturi and urbanist Steven Izenour, compiled the work from these classes in to the book "Learning From Las Vegas: The Forgotten Symbolism of Architectural Form," which has become a seminal work of 20th century design.
It’s more than possible that we ourselves have “overlooked” a few outstanding women who deserved to make the list, let us know who you would have picked in the comments below!
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