THE ROUTLEDGE COMPANION TO

WOMEN IN ARCHITECTURE

The Routledge Companion to Women in Architecture illuminates the names of pioneering women who
over time continue to foster, shape, and build cultural, spiritual, and physical environments in diverse
regions around the globe. It uncovers the remarkable evolution of women’s leadership, professional
perspectives, craftsmanship, and scholarship in architecture from the preindustrial age to the present.
The book is organized chronologically in five parts, outlining the stages of women’s expanding
engagement, leadership, and contributions to architecture through the centuries. It contains twenty-
nine chapters written by thirty-three recognized scholars committed to probing broader topographies
across time and place and presenting portraits of practicing architects, leaders, teachers, writers, critics,
and other kinds of professionals in the built environment. The intertwined research sets out debates,
questions, and projects around women in architecture, stimulates broader studies and discussions in
emerging areas, and becomes a catalyst for academic programs and future publications on the subject.
The novelty of this volume is in presenting not only a collection of case studies but in broadening
the discipline by advancing an incisive overview of the topic as a whole. It is an invaluable resource
for architectural historians, academics, students, and professionals.

Anna Sokolina is an architect, historian, curator, and founding Chair of SAH Women in Architecture
AG, who also contributes to the Advisory Boards of the International Archive of Women in Architecture
and The Bloomsbury Global Encyclopedia of Women in Architecture (ed. Lori Brown and Karen Burns,
forthcoming). She holds a PhD in Theory and History of Architecture and Landmarks Preservation
from the VNIITAG branch of the Russian Academy of Architecture and Construction Sciences
(1992). She graduated from the Moscow Institute of Architecture (1980) and New York University
SPS (2001) and interned at the Guggenheim Museum New York, Cooper-Hewitt Smithsonian Design
Museum, and the Public Design Commission at the NYC Mayor’s Office, and has contributed to the
Metropolitan Museum of Art (1999–2007), the Morgan Library and Museum, and ARTMargins. She
worked as an architect and a Research Associate at CNIITIA/VNIITAG, as Curator of Exhibitions
at the Tabakman Museum, and was a member of the architecture faculty at Miami University, where
she also curated the Cage Gallery. She was the first independent woman curator of the itinerant
Paper Architecture exhibitions in Germany and France (1992–1993) and the first lecturer from Russia
invited after the collapse of the USSR by the European Academy of the Urban Environment
(EA.UE Berlin) in the UNESCO program “Sustainable Settlements.” She has received seventeen
grants and awards; her 104 artworks are housed in twenty-three collections; and her over ninety
publications include the monographs Architecture and Anthroposophy (ed., 2001, 2010, e-access 2019),
and Building Utopia: Architecture of the GDR (in progress).
“The publication of this anthology is cause for celebration. Bringing together a wide variety of
scholars concerned with the diverse contributions of women in architecture from the preindustrial
age to the present, the book brings to light the work of both little-known figures of the past and
established leaders working today. This anthology will quickly be recognized as essential reading for
students and for anyone with an interest in the field.”
—Alice T. Friedman, PhD, Grace Slack McNeil Professor
of American Art, Wellesley College, MA

“I strongly support the publication of editor Anna Sokolina’s The Routledge Companion to Women in
Architecture as a significant contribution to the literature in architectural history as well as intersecting
fields of design, planning, and preservation. The collected chapters reveal the broad scholarship
that has turned from a long-held, narrow cannon to engagement with alternative narratives of
individuals, places, and projects. The inclusion of research on women from less studied geographies
such as Mongolia, Russia, and Turkey, and projects in places from Palestine to Rwanda, contributes
to filling the significant gap in studies on both the diversity and the networks women have created
and stewarded. This edited volume will be a resource for teaching architectural history as well as for
professional practice courses.”
—Thaïsa Way, PhD, FASLA, FAAR, Professor, College of Built
Environments, University of Washington, Seattle

“This fascinating volume offers an invaluable transnational perspective on the significant and wide-
ranging nature of women’s agency in the making of the built environment. From the early modern
period to the present day, the case studies it presents interrogate and challenge our understandings of
the interaction between gender and architecture.”
—Elizabeth Darling, PhD, Reader in Architectural History, School
of History, Philosophy and Culture, Oxford Brookes University, UK

“This book will be a valuable resource for scholars and students alike. In its historical and geographical
breadth, it underscores the diversity of women’s contributions to architecture and proposes many
new avenues of research. By illuminating little-known protagonists, the volume advances a more
complete and inclusive architectural history.”
—Kathryn E. O’Rourke, PhD, Associate Professor, Department of Art
and Art History, Trinity University, San Antonio, TX

“This anthology brings together high-quality scholarship that emphasizes the resourcefulness and
talent of women who made their mark on the built environment. From institutions to archives to
homes, spaces by women come alive in these inclusive, well-researched writings. Attuned to the
needs of students, scholars, professionals, and the broader audience, this accessible volume is a long-
awaited contribution to the literature on women in architecture.”
—Carla Yanni, PhD, Professor, Department of Art History, School of Arts
and Sciences, Rutgers, The State University of New Jersey

“The Routledge Companion to Women in Architecture provides an excellent and wide-ranging

compilation of women’s contributions to the field of architecture. Making inroads into a vast realm
of underdeveloped history, this book challenges our thinking about women’s roles throughout
centuries of architectural production.”
—Alexandra Staub, PhD, Professor, Stuckeman School of Architecture
and Landscape Architecture, Penn State University
 THE ROUTLEDGE
COMPANION TO WOMEN
IN ARCHITECTURE

Edited by Anna Sokolina

 First published 2021
by Routledge
605 Third Avenue, New York, NY 10158
and by Routledge
2 Park Square, Milton Park, Abingdon, Oxon, OX14 4RN
Routledge is an imprint of the Taylor & Francis Group, an informa business
© 2021 Taylor & Francis
The right of Anna Sokolina to be identified as the author of the editorial
material, and of the authors for their individual chapters, has been asserted
in accordance with sections 77 and 78 of the Copyright, Designs and
Patents Act 1988.
All rights reserved. No part of this book may be reprinted or reproduced or
utilised in any form or by any electronic, mechanical, or other means, now
known or hereafter invented, including photocopying and recording, or in
any information storage or retrieval system, without permission in writing
from the publishers.
Trademark notice: Product or corporate names may be trademarks or
registered trademarks, and are used only for identification and explanation
without intent to infringe.
Library of Congress Cataloging-in-Publication Data
Names: Sokolina, Anna, editor.
Title: The Routledge companion to women in architecture / edited by
Anna Sokolina.
Description: New York : Routledge, 2021. | Includes bibliographical
references and index.
Identifiers: LCCN 2020054094 (print) | LCCN 2020054095 (ebook) |
ISBN 9780367232344 (hardcover) | ISBN 9780429278891 (ebook)
Subjects: LCSH: Women architects.
Classification: LCC NA1997 .R68 2021 (print) | LCC NA1997 (ebook) |
DDC 720.82—dc23
LC record available at https://lccn.loc.gov/2020054094
LC ebook record available at https://lccn.loc.gov/2020054095
ISBN: 978-0-367-23234-4 (hbk)
ISBN: 978-1-032-01410-4 (pbk)
ISBN: 978-0-429-27889-1 (ebk)
Typeset in Bembo
by Apex CoVantage, LLC
 This book is dedicated to professional women everywhere and is an homage to all of the
strong women in my family: my mother, Maria Efimovna Guz (née Sokolina), a talented
civil engineer and creative designer who keenly supported my passion for architecture; my
grandmother, Galina Sokolina, a professional photographer and single mother of three
who lost her husband during World War II; my other grandmother, Anna Guz, and my
aunt, a professional teacher, gunned by the nazis during their blitzkrieg in Kiev; and
my caring mother-in-law, Ludmila Vasilievna Gmirya, a skilled manager overseeing the
laboratory protocols well into her seventies. It is also crafted to honor the inspiring men:
my father, aviation engineer Colonel Peter Evseevich Guz, a war veteran and educator
who believed in the merit and equality of all people, and my husband, Yuriy Gmirya,
an accomplished engineer and inventor who has dedicated his life to saving the lives of our
women and men in service and has always buttressed my professional endeavors.
 FRONT COVER ILLUSTRATIONS

(1: top left; 2: bottom left; 3: top center; 4: top right; 5: center; 6: bottom right)

1 “Women in Architecture: International Women’s Day and the Importance of Recognizing

Female Designers.” moss studio, graphic design, published March 5, 2015
2 San Bernardino City Hall, San Bernardino, CA, architect Norma Merrick Sklarek, Gruen
Associates, 1971–1973. Sklarek was the first African American woman in the US to become
licensed AIA member, 1959
3 “Aerial View: New York City,” Anna Sokolina, 2005. Fragment of artwork. Series: Aerial
Views, informed by urban masterplans, 30 × 40 inches, mixed media on canvas, exhibited at
the Metropolitan Museum of Art, New York, NY in 2007
4 Addition to Student Services at the University of California, Irvine Campus, architect
Katherine Diamond, an American-Israeli architect, Siegel Diamond Architects. Photograph
published in Architecture, 1987
5 Reconstruction project of the historic Buddhist Gandantegchinlen Monastery (1809) in
the downtown of Ulaanbaatar, Mongolia, surrounded by the Gandan ger suburb, architect
Sarantsatsral Ochirpurev, Urkh Architectural and Design company, 1984–1989. Urban
model
6 Urban development in Nagatino, Moscow, Russia, residential and mixed-use high-rise
condominiums, lead architect Rimma P. Aldonina, 1970–1982

Front Cover Collage: concept and design by Anna Sokolina, 2021

vi
 CONTENTS

List of Illustrations xi
List of Contributors xvii
Preface xxv
Acknowledgments xxviii

Introduction 1
Anna Sokolina

PART I
Women in the Early Profession and Leadership: Preindustrial
Age to Early Twentieth Century
From Domestic Realms into Public Life and Culture 17

1 Did Women Design or Build Before the Industrial Age? 21

Shelley E. Roff

2 For Homeowners and Housekeepers: The Architecture of Minerva

Parker Nichols in Late Nineteenth-Century America 32
Margaret (Molly) Lester

3 Nell Brooker Mayhew and the Arts and Crafts Movement in America 44
Brian Adams

4 “Designing Houses Is Like Having Babies”: Verna Cook and the Practice
of Architecture in the 1920s and 1930s 57
Catherine R. Ettinger

vii
 Contents

5 The Forgotten Art of Florence Hope Luscomb 70

Mary Anne Hunting and Kevin D. Murphy

6 “This Is Not a Success Story”: Florence Fulton Hobson, Architect

in Northern Ireland 83
Tanja Poppelreuter

PART II
Women in the Modern Movement: The First Half of the Twentieth Century
The Limits of Engagement in the Architectural Profession and the Agenda
of “Modern” Work 95

7 Eileen Gray: Invitation to an Intellectual Journey 99

Carmen Espegel

8 Blocks Versus Knots: Bauhaus Women Weavers’ Contribution to

Architecture’s Canon 112
Harriet Harriss

9 Lutah Maria Riggs: A Portrait of a Modern Revival-Style Architect 129

Volker M. Welter

10 Regarding De Stijl through a Gender Perspective: The Life and Work

of Han Schröder 142
Rixt Hoekstra

11 Reclaiming the Work of Women Architects in Mandatory Palestine 154

Sigal Davidi

12 More Than Shelter: Olive Tjaden’s Suburban Projects in New York

and Florida 165
Millicent Danziger Vollono and Lauren Vollono Drapala

PART III
Women in the Context of Mid-Century Modernism
Mainstream Practice Formations, Public Engagement, and Women’s
Wider Agency in the Field 175

13 Lois Davidson Gottlieb: A Woman Fellow 179

Katherine Kaford Papineau and Rylee Soquella Woodcock

14 Consulting and Curating the Modern Interior: The Work of Hilde

Reiss, 1943–1946 189
Erin McKellar

viii
 Contents

15 Architect, Partner, Wife: Mid-Century Husband-and-Wife Partnerships 201

Kate Reggev

16 “Mrs. Meric Callery” 213

Jan Frohburg

17 Katherine Morrow Ford: Designs for Living 227

Katherine Kaford Papineau

18 Architect, Builder, Client, Secretary: The Women of the Sarasota School 238
Christopher S. Wilson

PART IV
Women in Architecture of the Late Twentieth Century
Architectural Work and Urban Planning: Drawing, Building,
Educating, Archiving 249

19 Together Not Apart: Creating Constellations in Learning from an Archive 252

Donna W. Dunay

20 Women’s Contributions to Manitoba’s Built Environment: The Case of

Green Blankstein Russell 265
Marieke Gruwel

21 Uncovering Her Archive: Ayla Karacabey in Postwar Architecture 276

Meral Ekincioglu

22 Restless: Drawn by Zaha Hadid 287

Nerma Cridge

23 “Something More Solid and Massive”: The Architecture of Lauretta

Vinciarelli 301
Rebecca Siefert

24 Flora Ruchat-Roncati and the “Will to Keep Working” 313

Irina Davidovici and Katia Frey

PART V
Women in Architecture: From the 1960s to the Present
Breaking the Glass Ceiling 327

25 Expanding the Legacy: The International Archive of Women

in Architecture 329
Paola Zellner

ix
 Contents

26 Breaking the Silence: Women in Russian Architecture 341

Anna Sokolina

27 Leaving a Lasting Legacy. Beverly Willis: Groundbreaking Architect,

Artist, Designer, Filmmaker, and Philanthropist 357
Kathryn H. Anthony and Shailee Dave

28 Reflections: Creating an Architectural Practice 370

Diane Elliott Gayer

29 Collaborations: The Architecture and Art of Sigrid Miller Pollin 382

Margaret Birney Vickery

Index 394

x
 ILLUSTRATIONS

1.1 Casino e Villa Corsini fuori di Porta S. Pancrazio, Plate 199, engraving by
Giuseppe Vasi, 1761. The Villa Benedetta, designed by Plautilla Bricci, is the
large residence to the right of the street. Known as “Il Vascello,” the Baroque
design was characterized in its time as a great warship moored outside the city
of Rome 25
1.2 An embroidery of Elizabethan Chatsworth, textile, 1590–1600, English School.
Chatsworth Hall, sixteenth century, designed and built by Lady Elizabeth Talbot,
known as Bess of Hardwick 27
1.3 The Country House at Weston Park, Staffordshire, England, designed and built
by Lady Elizabeth Wilbraham in the Neo-Palladian style. Garden façade 27
1.4 The marble altarpiece of the Chapel at Holkham Hall, Norfolk, designed by
Lady Elizabeth Coke, Countess of Leicester, tasked with finishing Holkham Hall
after her husband’s death in 1759. She financed and directed the construction of
the stables, coach houses, counting house, and stranger’s wing 28
1.5 The Château de Bourdeilles, designed and built by Jacquette de Montbron,
features Doric, Ionic, and Corinthian ornamental details at each level 28
2.1 Minerva Parker Nichols. Photograph, no date 34
2.2 Campbell Sisters Residence, School House Lane, Germantown, Philadelphia,
PA, architect Minerva Parker Nichols. Photograph, no date 36
2.3 Mill-Rae, Rachel Foster Avery House, Somerton, PA, architect Minerva Parker
Nichols, constructed 1890–1891 38
2.4 New Century Club of Philadelphia, 12th Street, Philadelphia, PA, architect
Minerva Parker Nichols, constructed 1891. Photograph, no date 39
3.1 Nell Brooker Mayhew. Photograph, c. 1925 45
3.2 Torrey Pine print by Nell Brooker Mayhew, no date 47
3.3 Royer Residence, Urbana, IL, dining room murals by Nell Brooker Mayhew,
c. 1905. View to west 48
3.4 Royer Residence, Urbana, IL, detail of north dining room mural by Nell
Brooker Mayhew, c. 1905 49
3.5 Royer Residence, Urbana, IL, detail of south mural by Nell Brooker
Mayhew, c. 1905 49

xi
 Illustrations

3.6 Mission Santa Inez. Color etching by Nell Brooker Mayhew, c. 1917 52
4.1 a, b, c: House of Alexander Crane, Scarsdale, architects Edgar and Verna Cook
Salomonsky, c. 1932. Frontal view and floorplans redrawn by Catherine R.
Ettinger from the drawings published in Architectural Forum, March 1933 61
4.2 “Gardened Home.” Front cover design by Verna Cook Salomonsky, published
on the cover of Better Homes & Gardens magazine, April 1936 63
4.3 Original drawing of House 13 for the 1939 New York World’s Fair Town of
Tomorrow, architect Verna Cook Salomonsky 64
5.1 Florence Hope Luscomb standing in front of her cabin, named the Elk Horn
Ranch House, in Tamworth, New Hampshire. Photograph, 1972 71
5.2 F.H. Luscomb, conception sketch of her cabin, c. 1939. Series I 71
5.3 One of two sets of bunkbeds on the southwest end of the Luscomb cabin, c. 1940 75
5.4 Northeast end of the Luscomb cabin showing a corner of the kitchen and the
cook stove standing on a plinth, c. 1940. Series I 76
5.5 Eleanor Agnes Raymond (left) and Ethel Brown Power (right), in the garden of
their Mussel Point complex in Gloucester, MA, on the cover of The American
Home, June 1942 79
6.1 Florence Fulton Hobson, approximately twenty-one years old. Photograph, c. 1902 84
6.2 Florence Fulton Hobson, announcement of the lecture “Town Planning and Its
Relation to Public Health.” Newspaper clipping 86
6.3 Florence Fulton Hobson, House in Carnalea, 1914. Plans and elevations 88
6.4 Florence Fulton Hobson, House in Carnalea, 1920–1921. In Maire Garvey,
“Ireland’s First Woman Architect: Miss Florence F. Hobson,” The Crystal,
September 1927, 263 88
6.5 Florence Fulton Hobson, Cottage for Helen Chenevix, Killiney, near Dublin, c. 1925 89
7.1 Eileen Gray. Portrait by Berenice Abbot, Paris, c. 1926 100
7.2 Chambre à coucher-boudoir Monte-Carlo, design by Eileen Gray, exhibited in
the XIV Salon des Artistes Décorateurs, 1923 102
7.3 Living room of E.1027, design by Eileen Gray and Jean Badovici, 1929 103
7.4 Apartment for Jean Badovici on the Rue de Chateaubriand, design
by Eileen Gray, 1929. Detail of the entry-storage and shower with
metallic curtain 104
7.5 Fresco by Le Corbusier on the wall of E.1027 between the living room and the
shower area, 1937–1938 107
7.6 Terrace of E.1027 by Eileen Gray and Jean Badovici, furnished with a rug and
the Transat chair, both design by Eileen Gray 108
8.1 Top: Carpet for a children’s room by Benite Koch-Otte, with Marcel
Breuer’s children’s chair and table, 1923. Bottom: Tactile Board, design Otti
Berger, 1928 116
8.2 Top: Bauhaus Bauspiel (construction set), design Alma Siedhoff-Buscher,
1923. Bottom: Cabinet by Lilly Reich, shown in situ by onyx wall and drawn
curtain, with material thought to be chosen by Reich, in the main living area
of Tugendhat Villa Buffet, Mies van der Rohe, 1931. All elements contribute to
the architectural form 120
8.3 Top: Tubular steel furniture designs by Mies van der Rohe and Lilly Reich
as shown in the price list for Bamberg Metallwerkstätten, 1931. Bottom:
The Barcelona Couch, Lilly Reich and Ludwig Mies van der Rohe, 1930.
Commissioned by Philip Johnson. Manufactured by Knoll, the design remains
solely attributed to Mies van der Rohe 121

xii
 Illustrations

8.4 Left: Page from Otti Berger, “Stoffe im Raum,” ReD (Prague) 3, no. 5, 1930.
Right: Cover of Anni Albers’s book On Weaving, c. 1965 123
9.1 Lutah Maria Riggs at her drafting table. Photograph, no date (c. 1939) 130
9.2 Clavelitos—Lutah Maria Riggs Residence, Montecito, CA, 1926–1927,
architect Lutah Maria Riggs. Partial view of the living room, spiral stairs lead to
upper-level guest room. Photograph, no date 133
9.3 Fischel House, Montecito, CA, c. 1931, architect Lutah Maria Riggs, not built.
Photomechanical reproduction of a perspective drawing by Konrad W. Konrad
(1910–2000) 135
9.4 Alice Erving House, Montecito, CA, 1950–1951, architects Lutah Maria
Riggs and Arvin B. Shaw III. Partial view of north façade with one of the two
symmetrically placed pavilions and paved walkway toward the main entrance.
Photograph, c. 1952 137
9.5 October Hill—Wright S. Ludington House no. 3, Montecito, CA, 1973–
1975, architect Lutah Maria Riggs. View from the garden toward the three
interlocking cubes. Photograph, no date 138
10.1 Han Schröder and her mother. Photograph, c. 1950 143
10.2 Han Schröder with her colleagues at the Stedelijk Museum, Amsterdam, the
Netherlands, 1947. Han is standing in the second row, second from the left 146
10.3 House for Binnert Schröder in Hattem, 1954, architect Han Schröder. East view 148
10.4 House for Binnert Schröder in Hattem, architect Han Schröder. Interior view, to
the right: kitchen with housewife 149
11.1 The Israel Museum, Jerusalem, architects Dora Gad and Al Mansfeld, 1966 155
11.2 Apartment building, Tel Aviv, architect Lotte Cohn, 1936 156
11.3 Zina Dizengoff Square, Tel Aviv, architect Genia Averbuch, 1938 159
11.4 The Central Synagogue in Hadera, architect Judith Stolzer Segall, 1935. Frontal
view, 2014 159
11.5 Apartment building, Tel Aviv, architect Elsa Gidoni Mandelstamm, 1935.
Drawing published in Palestine Building Annual 1934–1935 160
12.1 Olive Tjaden with two workmen at a construction site of her home at 104
Eleventh Street in Garden City, NY, c. 1928 167
12.2 Sanford Jacobi Residence, Hewlett, NY, architect Olive Frances Tjaden. Aerial
view, c. 1935 (demolished) 169
12.3 Mack Markowitz Oldsmobile Showroom, Main Street at Bedell Avenue,
Hempstead, NY, architect Olive Frances Tjaden, c. 1935 (demolished) 170
12.4 Hovey-Mercury Apartments at 208 Hendricks Isle, Fort Lauderdale, FL,
architect Olive Frances Tjaden, completed between 1953 and 1954. Postcard image 171
13.1 Lois Davidson Gottlieb, c. 1950 180
13.2 Robert, Lois, Karen, and Mark Gottlieb in the Gottlieb House, Riverside, CA,
architect Lois Davidson Gottlieb, 1970. Photograph: Julius Shulman 184
13.3 The Mackey House, Riverside, CA, architect Lois Davidson Gottlieb, 1975.
Photograph: Julius Shulman 185
13.4 Mark and Sharon Gottlieb House, Fairfax Station, VA, architect Lois Davidson
Gottlieb, 1991. Living room 186
14.1 Hilde Reiss, architect, New York City, c. 1940–1955 190
14.2 Dining room in New York City apartment, 1935, architects Hilde Reiss and
Lila Ulrich. Arts and Decoration, February 1935 192
14.3 Pages offering guidelines for readers from Your Home 2, January 1944. Housing
Authority of the City of Vallejo 194

xiii
 Illustrations

14.4 Pages showing model interiors at Solano Apartments from Your Home 2,
January 1944. Housing Authority of the City of Vallejo 194
14.5 Installation view of Ideas for Better Living, curated by Hilde Reiss, 1946 196
15.1 The firm of Bethune, Bethune & Fuchs. Photograph, c. 1881 202
15.2 Golden Gate Bridge in San Francisco. A drawing from the office of Morrow &
Morrow names Irving F. Morrow as the consulting architect. His wife and
partner, Gertrude Morrow, was likely not included because the contract was in
her husband’s name 205
15.3 Fred and Maria Bentel in front of Midge Carr Art Center at New York Institute
of Technology in Old Westbury, NY. Photograph, c. 1979 208
15.4 Family residence of architect Rebecca Wood Esherick Watkin, Kentfield, CA.
Her upstairs office, with drafting table and desk. Photograph, c. 1955 209
16.1 Mary Callery, with one of her sculptures. Photograph: Tet Arnold von Borsig,
c. 1945 215
16.2 Living barn near Huntington, Long Island, with sculptures by Mary Callery,
Seated Figure, 1947–1952, and Standing Woman, 1949 216
16.3 Mary Callery, Conversation, 1949. Bronze, 71/2 x 133/4 x 10 inches 218
16.4 Mary Callery, Song of the Desert, 1945. Bronze, 283/4 x 261/2 x 10 inches 219
16.5 Mary Callery, The Fables of La Fontaine, 1954. Painted steel, 114 x 20 x 2 inches.
Photograph: Caroline Coudert Boosey 221
17.1 James Ford and Katherine Morrow Ford Residence, Lincoln, MA, architects
Walter Gropius and Marcel Breuer, 1938–1939 232
17.2 James Ford and Katherine Morrow Ford Residence, Lincoln, MA, 1938–1939.
North-facing elevation 233
17.3 James Ford and Katherine Morrow Ford Residence, Lincoln, MA, 1938–1939.
Wall dividing living and dining rooms 234
17.4 Jury members for House & Garden magazine’s Awards in Architecture,
April 1948. From left: Marcel Breuer, unidentified, Eero Saarinen, Harwell
Hamilton Harris, Katherine Morrow Ford, and Joseph Hudnut 235
18.1 Elizabeth Boylston Waters, the first female architect registered with the Central
Florida chapter of the American Institute of Architects in 1956. Photograph, 1952 239
18.2 Joan and Ken Warriner, as published in Sarasota Herald-Tribune, March 19, 1961, 26 242
18.3 Ruth Richmond, builder, the first woman in Florida to obtain the Class A
contractor’s license in 1954. Photograph, 1950s 244
18.4 Mary Rockwell Hook, architect, after a successful career in Kansas City, retired
to Sarasota and subsequently developed the Sandy Hook neighborhood, the
location of many Sarasota School residences. Photograph, 1965 245
19.1 Anne Tyng, Identity Threshold of the Large Meeting Place. Design sketch in ink on paper 256
19.2 Alison Smithson, Landscape Architecture Design Drawing, Parc de la Villette
Competition, Paris, France, 1982 256
19.3 Lilia Sofer Skala, architectural drawing. Student Portfolio, University of
Dresden, Germany 257
19.4 Eleanor Kendall Pettersen, initial barn drawing of record for what would
become her residence and studio, Saddle River Road, NJ 258
19.5 Han ( Johanna Erna Else) Schröder, Gaastra houseplan drawing, Zeist, Netherlands 259
19.6 Hilde Weström, apartment house, Röntgenstrasse 13, Berlin, Germany. Floor plan 259
19.7 Kimiko Suzuki, Susume Abe Residence, 1967. Architectural drawing 261
19.8 Anne Tyng, “Identity Threshold of the Large Meeting Place.” Design sketch in
ink on paper 261

xiv
 Illustrations

20.1 Elizabeth Pilcher greeted by Cecil Blankstein at the Winnipeg Airport, Canada.
Photograph, December 1958 266
20.2 Alderman’s Lounge, Winnipeg Civic Centre, Canada, 1964, architecture firm
Green Blankstein Russell and Associates 268
20.3 Elizabeth Pilcher working at the GBR offices. Photograph, c. 1960 270
20.4 Interior, Winnipeg International Airport, Canada, architecture firm Green
Blankstein Russell and Associates, 1964 (demolished) 271
21.1 Ayla Karacabey. Graduation photograph, Vassar College, Poughkeepsie, NY, 1956 277
21.2 Flaine, ski resort town, Chamonix, France, architect Marcel Breuer and
Associates, 1962. Site plan 279
21.3 The Student Union for the University of Florida, architect Ayla Karacabey,
1968. Floor plan 280
21.4 Competition entry: new masterplan, side, Hellenistic town, Turkey, 1969,
design team: Nuri Akioglu, Fahrettin Ayanlar, Ayla Karacabey, Bulent Kastarlak,
and Doruk Pamir 281
21.5 Esmeralda Resort Condominiums, Marbella, Spain, chief designer and planner
Ayla Karacabey, associate architect Eugenio Vargas, 1973. Site plan 282
22.1 Sketch for Al-Wakrah Stadium, Qatar, architect Zaha Hadid, 2013 288
22.2 Housing Scheme in Swiss Cottage, third-year student project, Zaha Hadid,
1974–1975 290
22.3 The World (89 Degrees), Zaha Hadid, 1983. Acrylic on canvas, 837/8 x
72¹/16 inches 293
22.4 a, b: Portrait of Zaha Hadid by Madelon Vriesendorp, 1978. Sketch and
painting 295
22.5 The Peak Swimming Pool Divers. Competition entry for the Peak Leisure Club,
Hong Kong, architect Zaha Hadid, 1982–1983. Painting 296
23.1 Lauretta Vinciarelli. Photograph, May 1980 302
23.2 Drawing from the Non-Homogeneous Grid series (detail), Lauretta Vinciarelli,
c. 1973–1975. Tempera on board, 16 x 20 inches 303
23.3 Lauretta Vinciarelli and Leonardo Foderà, drawing for Puglia Project,
1975–1977. Ink and colored pencil on Mylar, 171/4 x 223/4 inches 304
23.4 Drawing for The Seven Courtyards series, Lauretta Vinciarelli, 1981. Pastel,
graphite, and ink on vellum, 20 x 32 inches 307
23.5 Atrium in Red, Lauretta Vinciarelli, 1990. Watercolor on paper, 293/4 x
221/2 inches 309
24.1 Flora Ruchat-Roncati with the model of the Bellinzona Municipal Baths, 1968 315
24.2 School complex, Riva San Vitale, architects Aurelio Galfetti, Flora
Ruchat-Roncati, and Ivo Trümpy, 1962–1969 317
24.3 Flora Ruchat-Roncati. Photograph, c. 1985 318
24.4 Notes at Ruchat-Roncati lectures by assistant Fredi Ehrat, spring semester 1987 319
24.5 Exhibition SAFFA 1928, 1958, … 1988? Und Heute, Swiss Architecture
Museum, Basel. Photograph, 1989 321
25.1 Lithodipyra or Artificial Manufactory Trade Card of Eleanor Coade (1733–1821),
who started a business manufacturing artificial stone in London in 1769 332
25.2 Elevated In-Town Heliport, architect Melita Rodeck, 1960. Architectural
drawing: platform plan, plan at ground level, elevation 334
25.3 Mounted photograph of a rendering by Lilia (Sofer) Skala, no date 335
25.4 Digital immersive exhibit 30 x 30. Viewing during the 2016 IAWA Symposium,
March 2016 337

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 Illustrations

25.5 30 x 30 showcasing the work of architects Jean and Clayton Young. Viewing
during the 2016 IAWA Symposium, March 2016 338
26.1 a, b: The Comintern Palace, graduate design project by Lydia Komarova, 1929.
Frontal view of the spiral skyscraper, and perspective drawing of the site 343
26.2 N. Bauman Moscow State Technical University, Moscow, Russia, lead architect
Lydia Komarova, 1956–1960. Frontal view from the Yauza River. Photograph, c. 2010 345
26.3 The Palace of Youth and Creativity, Petrozavodsk, Russia, lead architect Tamara
Kovalevskaya, 1985. Photograph, 1987. Frontal view 346
26.4 Moscow Metro station Chertanovskaya, architect Nina Aleshina, 1983.
Photograph: Alexey Narodizkiy, 2016. Perspective of central aisle 348
26.5 Mir Space Station, architect Galina Balashova, design 1976–1986. Section 350
27.1 Beverly Willis. Photograph at a construction site, 1982 358
27.2 Aliamanu Valley Community for military family housing, Honolulu, HI,
architect Beverly Willis, 1974–1978. Drawing with view of buildings nestled on
the crater floor 361
27.3 Vine Terrace Apartments (now Nob Hill Court Condominiums), San Francisco,
CA, architect Beverly Willis, 1973. Two-story entry lobby with circular stair
from the parking garage to the first floor with private courtyard. Photograph, 1974 363
27.4 San Francisco Ballet Building, Civic Center, San Francisco, CA, architect
Beverly Willis, 1978–1983. The glass and polish-chrome entry at the corner of
the building facing the design axis of the Civic Center. Photograph, 1984 364
27.5 San Francisco Ballet Building, architect Beverly Willis. The lobby as seen from
the entry doors and glass wall of the drive-through entry. Photograph, 1984 365
28.1 Hidden Hollow, Jess Gardner, 2017. The poster is based on paired interviews
between architects and homeless persons about their ideal habitations. The
group exhibit was shown at the Fletcher Free Library, Burlington, VT 371
28.2 The Left Bank Townhouses, Lakewood, CO, architect Diane Gayer, 1980–1983 373
28.3 The Old Mill and Lafayette, Burlington, VT, architect Diane Elliott Gayer. Site
plan drawing, 1985 375
28.4 Masozera House, Lake Kivu, Rwanda, architect Diane Gayer, 2007. North
elevation 377
28.5 Diane Elliott Gayer. Photograph, 2009 378
29.1 1290 Residence and Studio, Amherst, MA, architect Sigrid Miller Pollin, 2007.
Exterior view 383
29.2 Sigrid Miller Pollin in her studio, with the model of 1290 Residence and
Studio, 2019 384
29.3 1290 Residence and Studio. Interior 385
29.4 Interior with kitchen and breakfast alcove 386
29.5 1290 Residence and Studio. East elevation 388

xvi
 CONTRIBUTORS

Brian Adams, Associate Scientist / Senior Research Archaeologist, Illinois State Archaeological
Survey, received a PhD from the Anthropology Department at the University of Illinois at Urbana-
Champaign. Previously Assistant Director of the Public Service Archaeology and Architecture
Program, University of Illinois at Urbana-Champaign, he also supervised excavations in the Sinai
Peninsula of Egypt and assisted with the analysis of lithic artifacts from these sites, and he gained
practical experience in cultural resource management in the Midwest. He is interested in historic
preservation, has participated in several efforts to landmark historic structures, and has published
extensively on related topics.

Kathryn H. Anthony is ACSA Distinguished Professor and the longest-serving female faculty
member at the School of Architecture, University of Illinois at Urbana-Champaign. She holds a PhD
in Architecture and Bachelor’s degree in Psychology from the University of California at Berke-
ley. She received numerous national awards, the most recent: 2020 Lifetime Achievement Award
from Chicago Women in Architecture and 2021 American Institute of Architects/Association of
Collegiate Schools of Architecture (AIA/ACSA) Topaz Medallion for Excellence in Architectural
Education. The first woman to chair the Design Program and the Building Research Council, she
has served as a national spokesperson about gender issues in design on ABC World News, CNN.com,
National Public Radio (NPR), and Time.com, as well as in The Boston Globe, The Chicago Tribune,
The Economist, The Guardian, The Los Angeles Times, The Wall Street Journal, and The Washington Post.
She has lectured on designing for diversity at numerous venues worldwide and is the author of over
one hundred publications. Her newest books are Defined by Design: The Surprising Power of Hidden
Gender, Age and Body. Bias in Everyday Products and Places (2017) and Shedding New Light on Art.
Museum Additions: Front Stage and Back Stage Experiences (coauthor Altaf Engineer, Routledge, 2018).

Nerma Cridge, PhD, was educated in architecture at the universities of Sarajevo and Birmingham,
the Bartlett, and the Architectural Association in London, UK. She participated in an Antarctic
expedition, and in 1997 she was Special Envoy to UNESCO. She has practiced at Thomas Heather-
wick and art2architecture, currently teaches at the Architectural Association and Regents University
in London, and works on art and design projects as Director at Drawing Agency. Based on her PhD
thesis on the drawings by the Soviet avant-garde, in 2015 Nerma published her first book, Draw-
ing the Unbuildable. Her forthcoming publications include “Intrinsically Interior” in Interior Design

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 Contributors

Theory, edited by Carola Ebert, and her second monograph, Politics of Abstraction, on the monuments
and secret structures in ex-Yugoslavia.

Shailee Dave is an architect at a healthcare and senior living architecture firm in San Francisco. She
holds Master’s degree in Architecture from the University of Illinois at Urbana-Champaign (UIUC)
with an interest in the field of environment behavior, gender and race, and cinema in architecture.
She received Bachelor’s degree in Architecture from Institute of Architecture HNGU, India, in
2015, and while working and assisting Professor Kathryn H. Anthony in her academic groundwork,
she represented the cause at a national-level conference in 2017.

Sigal Davidi, architect and architectural historian at Tel Aviv University, holds BA and MSc in
Architecture from the Technion, Israel Institute of Technology (1993, 2001, both cum laude) and a
PhD from Tel Aviv University (2015). She received the Leo Baeck Institute Jerusalem PhD Disserta-
tion Prize (2017) and the Goldberg Prize for an outstanding manuscript by the Open University of
Israel (2018). Formerly Postdoctoral Fellow at Technical University Berlin, Institute of Architecture
(2018) and a Visiting Scholar at the Katz Center for Advanced Judaic Studies at the University of
Pennsylvania (2019–2020), she writes and lectures on the history of architecture in Israel, with a
special interest in modern architecture and women architects in Palestine under the British Mandate
(1920–1948). Among her publications is “German and Austrian Women Architects in Mandatory
Palestine” in the Frau Architekt exhibition catalogue, ed. Mary Pepchinski, Deutsches Architektur-
museum, Frankfurt/Main (2017). Her book Building a New Land: Women Architects and Women’s
Organizations in Mandatory Palestine is in print.

Irina Davidovici is Senior Researcher, Chair for the History and Theory of Urban Design, and
coordinator of Doctoral Program in history and theory of architecture at ETH Zurich, Switzer-
land. She completed her doctorate at the University of Cambridge, UK, and her dissertation on
contemporary German-Swiss architecture received the RIBA President’s Award for Outstanding
Doctoral Thesis (2009). She was Harvard GSD Richard Rogers Fellow (2018), gta Postdoctoral
Fellow (2016–2017), SNF Marie Heim-Vögtlin Fellow (2014–2016), and Senior Lecturer at King-
ston University (2008–2013). A scholar of the early history of urban housing and the history of late
twentieth-century Swiss architecture, she is the author of Forms of Practice. German-Swiss Architecture
1980–2000 (2012 and 2018) and editor of Colquhounery. Alan Colquhoun from Bricolage to Myth
(2015).

Lauren Vollono Drapala is an architectural conservator and design historian who has worked on
preservation projects throughout the United States. She is pursuing her PhD in History of Decorative
Arts, Design History, Material Culture at the Bard Graduate Center and holds a BA in Art History
from Smith College (2008) and an MS in Historic Preservation from the University of Pennsylva-
nia (2010). She has published research on twentieth-century design, including contributions to the
books Robert Winthrop Chanler: Discovering the Fantastic (2016) and Macro to Micro: Examining Architec-
tural Finishes (2018) and an article with her mother, Millicent Vollono, entitled “Designing Suburbia:
Olive Tjaden on Long Island” in Nassau County Historical Society Journal (2016).

Donna W. Dunay, FAIA, is Chair of the International Archive of Women in Architecture Center
(IAWA) and ACSA Distinguished Professor. She holds a BArch and a MArch from Virginia Tech and
brings to the profession an outstanding body of work that explores cultural and civic understanding
in architecture through design research. Her work has gained a wide audience through her leader-
ship of the IAWA; through her research into town urbanism around the world; and through her
book, Town Architecture, as well as articles and presentations at numerous national and international

xviii
 Contributors

events. She has contributed greatly to architecture in education and practice and the communities
the profession serves.

Meral Ekincioglu obtained her PhD in Architecture from Istanbul Technical University (2011),
based on her academic research at Harvard University in the Aga Khan History of Art and Archi-
tecture PhD Program (Special Turkish Fellow, 2006–2007), and Columbia University GSAPP PhD
Program (Research Scholar, 2008–2009). In the HTC program at MIT, she conducted a research
project entitled “Women in Modern and Contemporary Territories of Turkish Architecture” and
created short documentary projects on immigrant and underrepresented communities in US archi-
tecture for the MIT-Archnet (2014–2016). She holds a Certificate from MIT-GCWS and has pre-
sented her work at the MIT-HTC Program, the MIT WGS Intellectual Forum Series, the CUNY
WGS Program, Harvard University, the IAWA Symposium, and the SAH 71st Annual International
Conference.

Carmen Espegel is an architect with her own office, espegel-fisac arquitectos, and Professor of Archi-
tecture at the School of Architecture of Madrid, Spain (Escuela Técnica Superior de Arquitectura
ETSAM at Universidad Politécnica de Madrid UPM). Her PhD thesis (1997), with research focus
on women in architecture, resulted in several book publications: Women Architects in the Modern Move-
ment (Routledge, 2018), Eileen Gray: Objects and Furniture Design (2013), and Aires Modernos: E.1027
by Eileen Gray and Jean Badovici (2010). She leads the research group Collective Housing (Grupo de
Investigación en Vivienda Colectiva GIVCO), lectures worldwide, and teaches international master’s
and doctorate courses. Her practice, founded in 2003 with Concha Fisac, received numerous awards
highlighted in books and professional journals. Among her seminal books are Collective Housing in
Spain 1992–2015 (2016) and Collective Housing in Spain XX Century (1929–1992) (2013).

Catherine R. Ettinger, PhD, is Professor of Architecture at the Universidad Michoacana de San

Nicolás de Hidalgo, Mexico. She has published widely on early twentieth-century architecture with
particular interest in the circulation of ideas between the United States and Mexico. Her recent pub-
lications include La arquitectura mexicana desde afuera, published by Porrúa (2017), and Richard Neutra
y América Latina, published by Arquitónica (2018).

Katia Frey, PhD, is an art historian with research interests in the field of history and theory of
urban design, in particular in sociocultural aspects, circulation of ideas, and urban green. Her cur-
rent projects with a focus on gender topics in architecture and planning include the research ini-
tiative “Women Writing on City and Urban Design,” as well as “Flora Ruchat-Roncati at ETH
1985–2002. Professor, Planner, Theoretician,” hosted by ETH Zurich, and the collaborative research
work on SAFFA 1958. A national platform for Swiss women architects and designers, hosted by Zurich
University of Applied Sciences Winterthur.

Jan Frohburg teaches design studio and lectures on the history and theory of twentieth-century
modern architecture at the University of Limerick School of Architecture. A graduate from the
Bauhaus University, Weimar, Germany, he studied, practiced, and taught architecture in Germany,
Great Britain, Ireland, and the United States. His research interests include design education and
the spatial expression of modernity focusing on concepts characteristic to the work of Mies van
der Rohe; his doctoral thesis interrogates Mies’s Concert Hall collage of 1942 and the conditions
that enabled its production at a turning point in the architect’s career. Published nationally and
internationally, he remains in creative practice and contributes regularly to the All-Ireland Archi-
tecture Research Group, continuing to explore the past and present of modern architecture in
Ireland.

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 Contributors

Diane Elliott Gayer, AIA, is an architect, urban and environmental designer, writer, artist, and
UIFA member. She is the Curator and Director of the GreenTara Space Gallery in North Hero,
Vermont. Her publications include the book Of Earth and Being, published by the Vermont Design
Institute (2017), a reflection on a personal journey by the author through time and place; a limited-
edition photography volume containing a collection of photos and essays; and a monograph entitled
Groundswell (2003), a handbook on sustainable design practices and community design charrettes.

Marieke Gruwel is an architectural historian based in Winnipeg, Manitoba. She holds Master’s
degree in Art History from Concordia University, Montreal, Canada, supported by a SSHRC
Joseph-Armand Bombardier Canada Graduate Scholarship, and an Honorary BA from the University
of Winnipeg. Gruwel works at the Winnipeg Architecture Foundation (WAF), with whom she has
produced publications and curated a series of exhibitions, including Cover Girls: Women, Advertising,
and Architecture. Gruwel is a recipient of the Mayor’s Medal, presented by the University of Winnipeg
and the City of Winnipeg.

Harriet Harriss, RIBA, PFHEA, PhD, is a qualified architect and Dean of the School of Archi-
tecture at Pratt Institute in NYC. Prior to this, she led the Architecture Research Programs at the
Royal College of Art in London, UK. Her teaching, research, and writing focus upon pioneering
new pedagogic models for design education as captured in Radical Pedagogies: Architectural Educa-
tion & the British Tradition (2015). Her book, A Gendered Profession (2016), asserts the need for
widening participation as a means to ensure the profession remains as diverse as the society it seeks
to serve. Dean Harriss has won various awards including a Brookes Teaching Fellowship, a Higher
Education Academy Internationalisation Award, a Churchill Fellowship, two Santander awards, two
Diawa awards, a NESTA (National Endowment for Science Technology and Art) Pioneer Award,
and a Clore Fellowship. She was elected to the European Association of Architectural Education
Council (2017) and awarded a Principal Fellowship of the UK’s Higher Education Academy (2018).
Her public consultancy roles include writing national construction curriculum for the UK govern-
ment’s Department for Education and international program validations and pedagogy design and
development internationally. Dean Harriss has spoken across a range of media channels (from the
BBC to TEDx) on the wider issues facing the built environment. She is a recognized advocate
for design education and was nominated by Dezeen as Champion for Women in Architecture and
Design in 2019.

Rixt Hoekstra is an architectural historian. She holds a PhD in Architectural History (2006) from
the University of Groningen, the Netherlands, with a dissertation thesis investigating the work of
architect and historian Manfredo Tafuri, and is a Senior Lecturer in Creative Technology at the
University of Twente, the Netherlands. Her academic interests are focused on the nexus of modern
architectural theory, historiography, and gender studies. Study presented in her chapter contributes
to ongoing research for a monograph about the Dutch architect Han Schröder.

Mary Anne Hunting is an architectural historian in New York City. She holds a PhD from the
Graduate Center of the City University of New York and Master’s degree in the History of Decora-
tive Arts from Parsons School of Design, NYC. She is recognized for her book, Edward Durell Stone:
Modernism’s Populist Architect (W.W. Norton, 2013), and is coauthor, with Dr. Kevin D. Murphy, of
the book Women Architects in Practice: Pathways in American Modernism (Princeton University Press,
in progress).

Margaret (Molly) Lester is Research Associate for PennPraxis (an extension of the Stuart Weitz-
man School of Design at the University of Pennsylvania); a 2019 Fellow for the James Marston Fitch

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 Contributors

Foundation, leading an independent research and media project exploring the career of architect
Minerva Parker Nichols; and a 2020 grantee of the Sachs Program for Arts Innovation. Her portfolio
includes architectural history research, documentation, and preservation planning projects related
to eighteenth- to twentieth-century historic buildings and cultural landscapes. She holds Master of
Science in Historic Preservation from the University of Pennsylvania (2012) and Bachelor of Archi-
tectural History from the University of Virginia (2008). She is a contributor to Hidden City Daily in
Philadelphia, a former Co-Chair of the Young Friends of the Preservation Alliance, and the founder
of the InKind Baking Project.

Erin McKellar, PhD, is Assistant Curator of Exhibitions at Sir John Soane’s Museum in London.
She is broadly interested in the role of women and children in architecture and the intersection of
architecture and politics, particularly in the design cultures of the 1930s and 1940s. Recent publica-
tions include essays in the Journal of Design History and in the collections Suffragette City: Women,
Politics and the Built Environment (Routledge, 2020) and The Housing Project: Discourses, Ideals, Models
and Politics in 20th Century Exhibitions (2020). She has previously been Fellow of the Paul Mellon
Centre for Studies in British Art in London and the Clarence S. Stein Institute for Urban and Land-
scape Studies at Cornell University in New York.

Kevin D. Murphy, PhD, is the Andrew W. Mellon Chair in the Humanities and Professor and Chair
in the Department of History of Art and Architecture at Vanderbilt University in Nashville, Tennes-
see. He is the author of books, articles, and edited volumes in European and American architecture of
the nineteenth and twentieth centuries, and the coauthor, with Dr. Mary Anne Hunting, of Women
Architects in Practice: Pathways in American Modernism (Princeton University Press, in progress).

Katherine Kaford Papineau, PhD, is Associate Professor of Art and Architectural History and Assis-
tant Dean at California Baptist University College of Architecture, Visual Arts + Design (BA, Welles-
ley College, 2004; MA, PhD, University of California, Santa Barbara, 2013). Her research interests
include the development of the modern home in postwar America, domesticity, the interior, collect-
ing, consumption, and display, and her publications include contributions to Carefree California: Cliff
May and the Romance of the Ranch House (2012), Walter S. White: Inventions in Mid-Century Architecture
(2016), and “Eames House” and “Stahl House” essays in the SAH Archipedia project.

Tanja Poppelreuter is a Lecturer in the History and Theory of Architecture at the University of
Salford, Manchester. Her research interests lie in the field of twentieth-century art and architectural
history and theory with the focus on the perceptions and development of architectural space, Ger-
man-speaking architects who fled the nazi regime, and women in architecture. She graduated with
a PhD in Art History from the Johann Wolfgang Goethe University, Frankfurt/Main, Germany, and
is the editor of the book Glamour and Gloom that discusses the modern architecture of the 1930s in
Belfast. She has published journal articles and book chapters on refugee architects to New Zealand
and to the United States, on ambitious projects to modernize Baghdad during the 1950s, and on
projects by modernist architects such as Walter Gropius and Ludwig Mies van der Rohe. She is a
Member of the Board of Advisors of the International Archives of Women in Architecture (IAWA)
in Blacksburg, Virginia, of the Historic Buildings Council in Belfast, and of the Equality, Inclusivity
and Diversity-group of the RIBA North West.

Kate Reggev, AIA, is an architect, architectural historian, design writer, and educator specializing
in preservation and adaptive reuse. She is Associate at the New York firm of Beyer Blinder Belle,
where she works on cultural, institutional, and civic projects that provide lasting and meaning-
ful public benefit. An Adjunct Assistant Professor at Columbia University’s Graduate School of

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 Contributors

Architecture, Planning and Preservation, she teaches in the Preservation Program, has lectured about
preservation and architectural history across the country, and also writes about design for Architectural
Digest, Dwell, and other industry publications. She holds Master of Science in Historic Preservation
and Master of Architecture from Columbia University, as well as Bachelor of Arts in Architecture,
cum laude, from Barnard College, Columbia University, New York City.

Shelley E. Roff, Associate Professor at the University of Texas at San Antonio, completed her PhD
in History of Art and Architecture at Brown University in 2002 and currently engages research
on the architecture of medieval and early modern Spain and premodern women working in the
building-related crafts and construction in Europe. She has published in Women and Wealth in Medi-
eval Europe, ed. Theresa Earenfight (2010); her forthcoming book, Treasure of the City: The Public
Sphere and Civic Urbanism in Late Medieval Barcelona, was funded by a 2019 NEH Faculty Award for
Hispanic-Serving Institutions.

Rebecca Siefert is Assistant Professor of Art History at Governors State University in University
Park, Illinois, and SAH Women in Architecture AG Administrator. She earned her PhD in Art History
at the Graduate Center of the City University of New York (2018), where she focused on the his-
tory of twentieth-century art, architecture, and film. Her primary area of research comprises women
in architecture who have been overlooked by mainstream scholarship, especially those involved in
the debates surrounding public housing. She has contributed to The Bloomsbury Global Encyclopedia of
Women in Architecture, and her monograph on the contemporary architect and artist Lauretta Vinci-
arelli, Into the Light: The Art and Architecture of Lauretta Vinciarelli, was published by Lund Humphries
in 2020.

Anna Sokolina is an architect, historian, curator, and Founding Chair of SAH Women in Architec-
ture AG, who also contributes to the Advisory Boards of the International Archive of Women in
Architecture and The Bloomsbury Global Encyclopedia of Women in Architecture (ed. Lori Brown and
Karen Burns, forthcoming). She holds a PhD (1992) in Theory and History of Architecture and
Landmarks Preservation from the VNIITAG branch of the Russian Academy of Architecture
and Construction Sciences. She graduated from the Moscow Institute of Architecture (1980) and
New York University SPS (2001), interned at the Guggenheim Museum New York, Cooper-
Hewitt Smithsonian Design Museum, and Public Design Commission at the NYC Mayor’s Office,
and has contributed at the Metropolitan Museum of Art (1999–2007), the Morgan Library and
Museum, and ARTMargins. She was the first independent woman curator of the itinerant Paper
Architecture exhibitions in Germany and France (1992–1993) and worked as an Architect/Research
Associate at CNIITIA/VNIITAG, as Curator of Exhibitions at Tabakman Museum, and was a
member of the architecture faculty at Miami University, where she also curated the Cage Gallery.
She received seventeen grants and awards, her 104 artworks are housed in twenty-three collections,
and her over ninety publications include Architecture and Anthroposophy (ed., 2001, 2010, e-access
2019), and Building Utopia: Architecture of the GDR (in progress).

Margaret Birney Vickery, an architectural historian, educator, and curator, is a Lecturer in the
History of Art and Architecture Department at the University of Massachusetts Amherst. She earned
her BA from Oberlin College (1985) and a PhD from Stanford University (1993). Her research is
focused on the architecture of women’s colleges in nineteenth-century England, campus architec-
ture, women’s education, Victorian architecture, and contemporary and sustainable architecture.
Her publications include Buildings for Bluestockings: The Architecture and Social History of Women’s Col-
leges in Late Victorian England (2000) and Campus Guide: Smith College (2007). From 2008 to 2010,
she developed an exhibition, Greening the Valley: Sustainable Architecture in the Pioneer Valley, at the

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 Contributors

University Museum of Contemporary Art at UMass Amherst. Her most recent books include Land-
scape and Infrastructure: Re-Imagining the Pastoral Paradigm for the 21st Century (2019) and Translations:
Architecture/Art by Sigrid Miller Pollin (2020).

Millicent Danziger Vollono, a researcher and author whose passions include local history, early
music, and genealogy, holds degrees from Hofstra University (BA Music, 1973; MA Humanities,
1976) and Long Island University (MS Library Science, 1981) and is enthusiastic about uncovering
the lost world of Long Island’s history. Her publications include The Five Towns (2010), a commemo-
rative edition of A Brief History of the Village of Woodsburgh (2012), “Robert Burton’s Woodmere”
in Gardens of Eden: Long Island’s Early Twentieth-Century Planned Communities (2015), “Designing
Suburbia: Olive Tjaden on Long Island” (2016), and “Zonta Club on Long Island” (2019) in Nassau
County Historical Society Journal.

Volker M. Welter is Professor at the Department of the History of Art and Architecture, Univer-
sity of California at Santa Barbara. His research interests focus on domestic architecture, patron-
age, histories of modernism, revivalism, sustainability, and historiography of modern architecture.
He studied architecture at Technische Universität Berlin and holds a PhD in History of Architec-
ture from the University of Edinburgh (1997). He has received grants and fellowships from the
Getty Grant Program, the Paul Mellon Centre for Studies in British Art, and the Centre Canadien
d’Architecture, Montreal. Among his book publications are Biopolis: Patrick Geddes and the City of
Life (2002), Ernst L. Freud, Architect: The Case of the Modern Bourgeois Home (2012), Walter S. White:
Inventions in Mid-Century Modernism (2015), and Tremaine Houses: One Family’s Patronage of Domestic
Architecture in Midcentury America (2019). His current book in progress delves into a longitudinal
study of a three-generation Santa Barbara architecture office that between 1916 and 1984 was run
by George Washington Smith, Lutah Maria Riggs, and Riggs and Arvin B. Shaw.

Christopher S. Wilson is an Architecture and Design Historian at Ringling College of Art +

Design, Sarasota, FL, USA. He holds a BArch from Temple University, Philadelphia, PA (1992);
an MA in Histories and Theories of Architecture from the Architectural Association, London, UK
(1997); and PhD in Architecture from Middle East Technical University, Ankara, Turkey (2007).
Wilson worked as an architect in Philadelphia, Berlin, and London and is registered with the RIBA.
Among his publications is Beyond Anıtkabir: The Funerary Architecture of Atatürk. The Construction and
Maintenance of National Memory (2013). An expert on “The Sarasota School,” Dr. Wilson has been
a Board Member of the Sarasota Architectural Foundation since 2012, serving as Board Chair from
2017 to 2020, and has written the Sarasota chapter in a monograph on the life and work of Sarasota
School architect Victor Lundy, Victor Lundy: Artist Architect (2018).

Rylee Soquella Woodcock is a California Baptist University College of Architecture, Visual Arts +
Design graduate student in architecture assisting Professor Katherine Kaford Papineau in research of
the life and work of Lois Davidson Gottlieb. Her academic interests focus on mid-century residential
design, specifically analyzing place-making using empathetic research methods.

Paola Zellner is an Argentine architect and Associate Professor of Architecture at the School of
Architecture + Design at Virginia Tech, as well as a Member of the Executive Committee and Board
of Advisors of the International Archive of Women in Architecture (IAWA). 30 x 30, one of sev-
eral initiatives she leads in the IAWA Center, has been displayed nationally and internationally with
accompanying presentations at the 18th L’Union Internationale des Femmes Architectes (UIFA)
Congress, the XV Bienal Internacional de Arquitectura in Buenos Aires, the All-Ireland Architec-
ture Research Group (AIARG) 2016 conference, and the 2016 IAWA Symposium, as well as in

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 Contributors

the Kibel Gallery at the University of Maryland and at the American Institute of Architects (AIA)
National Headquarters in Washington, DC, where it launched during the AIA Women’s Leadership
Summit.

Board of Chapter Editors

Christina E. Crawford, Editor

Catherine R. Ettinger, Editor and Contributor

Rebecca Siefert, Editor and Contributor

Anna Sokolina, Chair of the Board and Contributor

Margaret Birney Vickery, Editor and Contributor

Danielle S. Willkens, Editor

Chapter Editors (Who are not Contributors)

Christina E. Crawford is an architectural and urban historian, a licensed architect, Assistant Pro-
fessor of Architectural History at Emory University, and President of the Society of Historians of
East European, Eurasian and Russian Art and Architecture. She received her PhD and MArch from
Harvard University and her BA from Yale University. Her monograph Spatial Revolution (2021)
explores the foundations of early Soviet urban theory and practice, and new research investigates
interwar exchanges of housing expertise between the US and Europe, using Atlanta as a primary
node. Her scholarly writing can be found in Future Anterior, Harvard Design Magazine, the Journal
of Architectural Education, the Journal of the Society of Architectural Historians, and the Journal of Urban
History. Her research has been supported by a Getty/ACLS Postdoctoral Fellowship in the History
of Art; the College Art Association’s Millard Meiss Grant; the Fulbright Program; the International
Planning History Society; the Weatherhead Institute; and the Davis Center at Harvard.

Danielle S. Willkens, Assoc. AIA, LEED AP BD+C, is Assistant Professor at the Georgia Institute
of Technology’s School of Architecture where she teaches architectural history and design studios.
She holds a PhD in Architectural History and Theory from the Bartlett School of Architecture, as
well as an MArch and BS from the University of Virginia and an MPhil in Architectural History
from Cambridge University. As a practicing designer, researcher, and FAA Certified Remote Pilot,
she is particularly interested in bringing architectural engagement to diverse audiences through
interactive digital visualization. She was the 2015 recipient of the Society of Architectural Historians’
H. Allen Brooks Travelling Fellowship, and her research into transatlantic design exchange has been
supported by the Sir John Soane’s Museum Foundation, the International Center for Jefferson Stud-
ies, and an American Philosophical Society Franklin Research Grant.

xxiv
 PREFACE

My life as an architect has been determined by the frozen music of capital cities and by the luminous
terrains of the unbuilt social utopias. Now I revisit and reevaluate anew my path through the prism
of global calamities and transitions, and I reassess the prospects of my generation, the glorious tree
of modern knowledge, the declarations of gender equality, and in this volume place my emphasis
on integrity, enlightenment, and justice, by revealing the immense yet overwhelmingly concealed
contribution of the female half of the Earth’s population to shaping our built environments.

Our Time
The world is changing. Having been born in the Eastern Hemisphere, with my early professional
beginnings in the capital of the communal utopia at dusk, I was surrounded by remarkable women,
role models across industries and academia. As the male population of Europe and Russia was
greatly wiped out during brutal twentieth-century wars, women there constituted the majority of
the workforce; today, women make primary decisions, shape living environments, and take over
responsibilities. When I turned four years old, my mother showed me to her civil engineering office
at a major state design institution in Moscow and introduced me to her colleagues, mostly women,
as a future architect.
Being trained to regard both the Western and the Eastern perspectives, I also had the privilege
of learning by example while simultaneously working full-time, starting my family, studying in the
PhD program (both in Germany and in Russia), and later curating professional exhibitions and lec-
turing in Western Europe. In the early 1990s we immigrated to the US, where I have since studied
and worked. I have been designing, writing, curating, painting, crafting models and installations,
drawing, laboring on a construction plant, working with contractors, running an office, and teach-
ing studio courses in architecture and environmental design, theory-history, and independent study.
My teaching philosophy grew out of those personal and social ties to bridge craters by fostering
fundamental values of collaboration and collegial support.
Our industry is ruled by men. American urban landscape historian Thaïsa Way, in our corre-
spondence concerning my efforts as the Founding Chair of the Women in Architecture Affiliate Group
of the Society of Architectural Historians, referenced Professor Mabel Wilson on the meaning of the
term “architecture” in traditional chronologies as “exclusionary” and “embedded with white male
supremacy” and thus exempt from future histories.1 Respectfully, I believe that the massive presence

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 Preface

of women in architecture over the recent century—and, in particular, the female prevalence by
numbers in certain regions across continents, that is, in Eastern European countries, Russia, the
Baltic republics, the republics of Caucasus (Armenia, Georgia, Azerbaijan), arguably in Mongolia,
Kazakhstan, etc.—proves that architecture has a great future, going far beyond what has been pro-
filed in the Western contexts as a historically exclusive “boys’ club.”2
A holistic take on architecture—rooted in the knowledge of coexistence, in harmony with the
natural world, a vision of societal perfection and the equality of color, gender, nationality, culture,
and faith—speaks volumes and manifests the “Alliance of the Arts under the Wing of Architecture,”
defeating dogmatic constraints.3 I perceive architecture as teamwork and as the whole greater than
the sum of its parts.
I see the tragedy of our discipline as adhering to marginalized chronologies and languages and
I recognize our mission to expand the map and reconstruct the truth about women’s equal contribu-
tion by uncovering veiled evidence of significant female presence, accomplishments, and leadership
in the profession.

The Spark
This volume was launched as an initiative branching out of my research project, “Life to Architec-
ture: Milka Bliznakov Academic Papers at the IAWA,” which in 2016 was awarded the new Blizna-
kov Scholar designation, established by the M. Bliznakov Research Prize Jury of the International
Archive of Women in Architecture Center at Virginia Polytechnic Institute and State University.4
A passionate advocate for the equal standing of professional women, Professor Milka T. Bliznakov
(1927–2010) remains a powerful inspiration: in 1985, she founded the International Archive of
Women in Architecture (IAWA), now the world’s largest thematic archive, facilitated in the Special
Collections division of the University Libraries at a major American university, with over 2,400
holdings from forty-seven countries, housing the legacies of more than 440 individuals, practices,
organizations, and exhibits, in seventeen languages, dating from the 1890s to the present. Through
the structured study of the files of Professor Bliznakov, an architect, teacher, and scholar with research
interests focused on Russian constructivism, I emphasized her legacy in the IAWA records of Rus-
sian women architects, which I have solicited annually for the archive since 2002 and which now
contain some thirty collections documenting women’s contributions to the built environment across
borders.5 She was involved in academic projects rooted in her life experiences, carried out in her
doctoral thesis at Columbia University in NYC and her engagement with the Institute of Modern
Russian Culture, now active in Los Angeles, CA.6
The report on the idea of launching a new collective publication as a general resource for a
Women in Architecture survey course was delivered to the IAWA Board at Virginia Tech and at the
IAWA Symposium in March of 2017 in celebration of Women’s History Month in the talk “We
Can Do It: The Mission of Milka Bliznakov” and has been encouraged as a vital contribution to the
IAWA mission. This spark grew into a powerful fire of evocations prompting new collaborations and
broadening professional networks.
A variety of chapters in the current book have effectively resourced the IAWA holdings: “Regard-
ing De Stijl Through a Gender Perspective: The Life and Work of Han Schröder” by Rixt Hoek-
stra, “Architect, Partner, Wife: Mid-Century Husband-and-Wife Partnerships” by Kate Reggev,
“Together Not Apart: Creating Constellations in Learning from an Archive” by Donna W. Dunay,
“Uncovering Her Archive: Ayla Karacabey in Postwar Architecture” by Meral Ekincioglu, “Expand-
ing the Legacy: The International Archive of Women in Architecture” by Paola Zellner, “Breaking
the Silence: Women in Russian Architecture” by Anna Sokolina, and “Reflections: Creating an

xxvi
 Preface

Architectural Practice” by Diane Elliott Gayer. These and many other chapters carry on the spark of
my original research project on Professor Bliznakov’s legacy.

The New Normal

The year 2020 became a testament to the heroism of women, from the battlefields of the pandemic,
to our homelands shut down, to the historic New Normal in our profession: from innovating and
creating virtual spaces, testing our ability to stay connected, to sustaining the environment and
adapting to the rapid change. Influenced by the work on this not yet published book, a series of
initiatives emerged, ranging from teaching to practical engagements.
When, in December of 2019, the Society of Architectural Historians—founded in 1940 at the
Harvard Club by twenty-five American academics and now the world’s largest international associa-
tion of scholars writing architectural histories with over 3,500 members—announced the creation
of affiliate groups, the Women in Architecture Group was conceived. I founded the group with the
mission to equally support the breadth of interests of architectural historians across continents and
develop a platform for wide-ranging inquiry into the projects around women in architecture and
design.
Recognizing the broad scope of professional engagements and diversity of women’s contribu-
tions to the built environment worldwide, the purpose of the group is now to provide a forum for
collaborative scholarship and discussion and to document, advocate, and advance research, publica-
tion, education, and exhibition initiatives on the subject integrating the professional standing of
women in architecture and design with broader studies on leadership, identities, philosophies, and
structures of power across borders and cultures. I drafted the bylaws and designed the logo sign; the
SAH Women in Architecture Center was established to foster programs and broaden networks with
women’s organizations, such as AIA Women’s Centers, AWSS, BWAF, EAHN, IAWA, SAHGB,
SHERA, and UIFA. The SAH WiA AG Registers Committee that I initiated and am co-chairing
with Barbara Ann Opar, as a global initiative was also supported by the Society of Architectural His-
torians. The purpose of the Committee is to create, maintain, and advance the registers of archives,
libraries, museums, other learned centers, of all scale, across continents, that collect, preserve, and
promote women’s contributions to the built environment; bibliographies—a catalogue of biblio-
graphic resources: written about women’s contribution to the built environment integrating works
in broader diversity, border- and cross-disciplinary studies, covering various geographies, and areas
relevant to understanding and teaching the subject; and written by women who are architectural
and art historians, educators, curators, critics, other protagonists in our profession; and networks—a
database of likeminded organizations, institutions, and other alliances across borders and disciplines.
All these initiatives would not have been possible without the work on this volume and the team
efforts of many colleagues noted in this book with respect and gratitude.

xxvii
 ACKNOWLEDGMENTS

This volume would not have been possible without the memorable collaboration from my gracious
friend and colleague, the founder of the International Archive of Women in Architecture, Milka T.
Bliznakov, PhD, Professor Emerita at Virginia Polytechnic Institute and State University, a vanguard
figure who remains an inspiration for women in architecture across the globe. With a remarkable
sense of humor and a talent for overcoming hardships, she was the soul of sisterhood and recogni-
tion. Now, forty-three envelopes containing numerous folders of our handwritten correspondence
and her hand-marked research materials, letters, and cards are preserved in the Milka T. Bliznakov
Papers and Architectural Drawings collection and in my architectural collection at Virginia Tech
University Libraries and Archives.
A large amount of work on this book has been accomplished during the critical time of a global
pandemic, witnessing personal heroism, political unrest, and the immense struggle for social justice.
Sincere thanks are due to our team of contributors who revised the traditional approach to research,
teaching, and practicing architecture and provided essential drafts over the timespan from early 2018
to late 2020. Two rounds of double-blind peer review as well as another review by the Routledge
Board of Editors backed the massive scope and the creative vision of this project; the contents and
structure have been revised several times responding to the requirements of our changing era. I am
indebted to Routledge Editors Krystal LaDuc Racaniello and Christine Bondira for their support
and guidance.
During my initial study generous assistance was provided by the staff of Virginia Tech Libraries
Special Collections: Dr. Aaron Purcell, Director of Special Collections; Samantha Winn, Collections
Archivist; and Kira A. Ditz, Acquisitions and Processing Archivist. I also owe a credit to the archivist
Jade Snelling, who supported us with publication permissions of rare images digitized and preserved
in Special Collections. With sincere thanks I recognize the architecture and urban design studio
moss::: in Chicago for providing permission to publish their creative graphics.
My collegial gratitude for encouraging my academic pursuits goes to the International Archive
of Women in Architecture Advisory Board Members, current and former, at Virginia Tech: Donna
W. Dunay, FAIA, G.T. Ward Professor of Architecture and IAWA Chair; Helene Renard, Profes-
sor Emerita; Humberto Rodriguez-Camilloni, PhD, Professor and Director of the Henry H. Wiss
Center for Theory and History of Art and Architecture; Paola Zellner Bassett, Associate Professor
and IAWA Executive Committee Member; Marcia Feuerstein, PhD, AIA, Associate Professor, for-
merly IAWA Chair; Shelley F. Martin, Associate Professor; Kay F. Edge, Associate Professor; Kris-
tine K. Fallon, FAIA; Ellen Fisher, PhD, Dean, New York School of Interior Design; Sarantsatsral

xxviii
 Acknowledgments

Ochirpurevlin, Architect and Director, Urkh; and Alice Finnerup Møller, FAIA, Arkitektfirmaet
MAA. I wish to express my gratitude to Professor Paola Zellner for her practical support during the
process of selecting images from the IAWA.
I am thankful to Peter J. Potter, Director of Publishing Strategy at Virginia Tech University
Libraries, for his advice and the time he has selflessly spent discussing my publication project.
I owe special words of appreciation to the respected, like-minded scholars who took the time
to provide feedback and become the first reviewers of this extensive publication proposal: Despina
Stratigakos, PhD, Professor of Architecture, University of Buffalo School of Architecture and Plan-
ning and author of Where Are the Women Architects? (2016); Lori A. Brown, AIA, Professor of Archi-
tecture, Syracuse University School of Architecture, Cofounder of ArchiteXX; Meredith Clausen,
PhD, Professor of Art History, University of Washington, Seattle; Gabrielle Esperdy, PhD, Professor
of Architecture, New Jersey Institute of Technology in Newark, Editor, SAH Archipedia; and Mary
McLeod, PhD, Professor of Architecture, Columbia University in the City of New York.
The urgency of this publication initiative became clear through the success of the Women in Archi-
tecture Wikipedia Edit-a-Thon project at the Guggenheim Museum in New York in 2017 as well as
during conferences of the Society of Architectural Historians over the last twenty years as interest
in the topic increased. It came to the forefront for me in correspondence with Wanda Bubriski,
Founding Director of the Beverly Willis Architecture Foundation, who at the BWAF meeting during
the 68th SAH Conference in Chicago in April of 2015 awarded me with the original DVD of the
acclaimed documentary written and directed by Beverly Willis and produced by BWAF, “A Girl Is
A Fellow Here”: Women Architects in the Studio of Frank Lloyd Wright, a film that illuminates the life
and work of Marion Mahony, Isabel Roberts, Lois Gottlieb, Jane Duncombe, Eleanore Pettersen,
and Read Weber.7
The collaboration with Beverly Willis, FAIA, added special merit to this volume, and I am thank-
ful to her for modeling great independence and furthering creativity and professional craft. My deep
respect goes as well to the architect Lois Davidson Gottlieb (1926–2018) for her presence in my life and
research and for our informal conversations about her professional and personal encounters in Milka
Bliznakov’s hospitable home during our stay for the IAWA Board Meetings, and to her daughter Karen
and son Mark Gottlieb, who introduced her legacy to audiences of all ages at Virginia Tech symposia.
I owe a debt of gratitude to the members of our Board of Chapter Editors who volunteered their
skill and talent to enhance the quality of our writings: Professors Christina Elizabeth Crawford,
PhD, Emory University; Rebecca Siefert, PhD, Governors State University; and Danielle S. Willk-
ens, PhD, Georgia Institute of Technology. Special appreciation goes to Professors Catherine R.
Ettinger, PhD, Universidad Michoacana de San Nicolás de Hidalgo, and Margaret Birney Vickery,
PhD, University of Massachusetts Amherst, for their valuable feedback and gracious commitment to
editing multiple scripts.
At the later stage of writing, important feedback has been provided by Professors Annmarie
Adams, PhD, Stevenson Chair in the History and Philosophy of Science, McGill University, Mon-
treal, Canada, and Alexandra Staub, PhD, Stuckeman School of Architecture and Landscape Archi-
tecture, College of Arts & Architecture, Penn State University.
My gratitude is extended to numerous talented colleagues who, during the work on this vol-
ume, helped build bridges of understanding across continents—the remarkable women and men of
architecture in Argentina, Canada, France, Germany, Israel, Mongolia, Russia, Spain, Switzerland,
Turkey, Ukraine, the United Kingdom, and the United States, and also to women innovators work-
ing in Africa, Latin America, and in multiple other regions not previously mentioned, including
the Balkans, Eastern Europe, and Southeast Asia. Being born, educated, and professionally active
in the largest cities of both the Eastern and Western Hemispheres and witnessing firsthand social and
political upheavals and morphing pyramids of dictatorships and ladders of democracies, I have had
the privilege of collaboration with magnificent role models who changed the culture of architecture

xxix
 Acknowledgments

beyond borders—architects, scholars, educators, city planners, landscape architects, interior design-
ers, writers, activists, and authorities within and above the margins of the discipline of the built
environment who extended their support by fostering further developments stemming from this
publication project.
My sincere appreciation goes to Barbara Ann Opar, Architecture Librarian, Syracuse University
Library, with whom I have the privilege of co-chairing the SAH WiA AG Registers Committee.
A considerable part of the bibliography that accompanies the introduction to this volume is a prod-
uct of her contribution of time and talent to creating and maintaining, with her student assistant
Hannah Joelle Deichler, an inclusive list of publications on women in our profession.
Thanks to the remarkable generosity of many renowned and lesser-known museums, archives,
and individual collectors around the globe who preserved pivotal yet largely unexplored materials
on the subject, we have the rare opportunity to document this publication with images highlighting
historical evidence of women’s powerful contribution to shaping the built environment; all of them
are recognized and referenced by authors in every chapter, in notes and captions accompanying
illustrations, and in the illustrations list of this volume.
I would like to give my special thanks, limitless love, and appreciation to my family. From my
early years, I have been surrounded by a cohort of strong women, true role models: my mother,
Maria Efimovna Guz (née Mera Sokolina), a hardworking civil engineer and a kind, caring soul, and
my grandmother, Galina M. Sokolina, a photographer in her own right and a single mother who lost
her family property to Bolsheviks and her husband to war under the nazis’ siege of Leningrad and yet
brought up three children by strengthening family values and managing her photo studio. And to the
remarkable men who inspired me in more ways than one: my father, the aviation engineer Colonel
Peter Evseevich Guz, a war veteran and a devoted educator who dedicated his life to public service,
and my husband Yuriy Gmirya, a talented engineer with numerous patents, recognized executive
and lecturer, who at all times helped sustain my career and wholeheartedly aided with a variety of
technical inquiries on this scholarship.

Notes
1. Thaïsa Way is an urban landscape historian and professor in the Department of Landscape Architecture at the
College of Built Environments, University of Washington, Seattle; site accessed November 1, 2020, www.
thaisaway.com/. Mabel O. Wilson is the N. and G. Rupp Professor of Architecture, Planning and Preserva-
tion; a professor in African American and African Diasporic Studies; and the director of the Institute for
Research in African American Studies (IRAAS) at Columbia University; site accessed November 1, 2020,
http://iraas.columbia.edu/Faculty/mabel-wilson.
2. This assessment would benefit from detailed statistical research.
3. Wolfgang Pehnt, Expressionist Architecture (London: Thames and Hudson, 1973), 20.
4. Anna P. Sokolina, Milka Bliznakov Scholar Report. Life to Architecture: Milka Bliznakov Academic Papers and
Records of Women in Russian Architecture at the IAWA (Alternative Spaces, 2019), accessed November 1, 2020,
www.academia.edu/39140431/Milka_Bliznakov_Scholar_Report.
5. Prof. Robert Schubert, Virginia Tech Dean for Research, CAUS Research + Discovery 2017 Annual Report,
section “Milka Bliznakov Research Prize 2016,” accessed May 1, 2020, www.caus.vt.edu/news-events/
annual-report/2017-annual-report/research-discovery-2017.
6. Anna Sokolina, “Milka Bliznakov, 1927–2010,” Slavic Review. Interdisciplinary Quarterly of Russian, Eurasian,
and East European Studies 70, no. 2 (2011): 498–99; also, Anna Sokolina, “Milka Bliznakov,” in The Blooms-
bury Global Encyclopedia of Women in Architecture, 1960–2015, ed. Lori A. Brown and Karen Burns (London:
Bloomsbury, forthcoming).
7. Reference to the film on the BWAF website, assessed May 1, 2020, www.bwaf.org/film-a-girl-is-a-fellow-here/.

xxx
 INTRODUCTION
Anna Sokolina

The Place and Time

At the beginning of the next decade of the twenty-first century, the global pandemic, social unrests,
economic crises, and natural disasters eclipse the world map, and we turn to architecture and his-
tory to understand the reality of the present moment in order to navigate and persevere through the
challenges that we face.
Architecture has often played a pivotal role in helping us process moments of crisis. The chro-
nologies capture the critical extent to which life has been sustained under extreme circumstances,
yet they consistently lack structured representations of women’s leadership. Geopolitical landscapes
continue to lead us to fragmented conclusions and hinge on established patriarchal cultures, while
the milestones of women’s contributions to shaping the environment we live in remain only partially
revealed in written chronicles. However, over the recent decades the effectiveness of prevailing male-
dominated constructs has been increasingly challenged. History matters—there are no short-lived
priorities in the value of impact; everything is of great importance. The urgency of this publication
is apparent; we are filling the void of fundamental knowledge.
In this volume, we follow our vision of preparing for the future by reconstructing the past through
insightful research. We aim not only to present a collection of case studies, but to advance a more inci-
sive overview of the topic as a whole and to analyze women’s accomplishments across borders, terrains,
and strategies of power with more attention paid to related fields. The chapters uncover significant yet
largely unexplored instances of women’s agency in architecture and survey an extensive legacy.
The critical arguments reference institutions and archives that collect and promote women’s
work and hold an extraordinary wealth of historical records in urgent need of further excavation.1
We hope that through the intertwined examination of architectural theory, history, education, criti-
cism, curatorship, landscape architecture, urban design, and city planning, as well as the practices
of interior and graphic design, craftsmanship, and artistry, our book will inspire broader studies and
debates, engender discussions in emerging areas, and become a catalyst for new research, courses and
modules, and future publications on the subject.

Filling the Gap in History

This book challenges traditional histories: we are now buttressed by the commitment of professional
and academic communities and empowered by numerous discoveries of the resilience of individual

1
 Anna Sokolina

characters. In our volume, theoretically, historically, and ethnographically grounded contributions

explore the role of women in architecture in its complexity across social and cultural divides.2 The
difference of our volume is also meant to be the depth and scope of each chapter. The critical
approach to this project is trifold, presenting women’s achievements in the fields of history, practice,
and education.3
History. These chapters uncover evidence and offer visibility to women’s networks and initiatives
worldwide and delve into women’s professional strategies and visual narratives that revise histori-
cal readings and impact new generations. Examples include: “Did Women Design or Build Before
the Industrial Age?” by Shelley E. Roff, “For Homeowners and Housekeepers: The Architecture
of Minerva Parker Nichols in Late Nineteenth-Century America” by Margaret (Molly) Lester, and
“Expanding the Legacy: The International Archive of Women in Architecture” by Paola Zellner.
Practice. These studies examine the evolution of design-build practices and expand beyond
descriptive representations of women’s professional agency. Through the lens of gender studies,
internal cultural mechanisms are considered that have affected the complex architecture field in
diverse regions around the globe. Of particular interest is research that probes the processes of
architectural production, both individually and collaboratively. The implied grouping of original
chapters presents recent discoveries: “ ‘Designing Houses Is Like Having Babies’: Verna Cook and
the Practice of Architecture in the 1920s and 1930s” by Catherine R. Ettinger, “Reclaiming the
Work of Women Architects in Mandatory Palestine” by Sigal Davidi, “Lois Davidson Gottlieb:
A Woman Fellow” by Katherine Kaford Papineau and Rylee Soquella Woodcock, “Uncovering Her
Archive: Ayla Karacabey in Postwar Architecture” by Meral Ekincioglu, “Women’s Contributions
to Manitoba’s Built Environment: The Case of Green Blankstein Russell” by Marieke Gruwel, and
“Reflections: Creating an Architectural Practice” by Diane Elliott Gayer.
Education. The internal logistics of these studies reflect on how architectural education and profes-
sional practice impact each other, with emphasis on different tactics and methodologies implemented
by architecture schools to address gender inequality in the Western templates when developing their
curricula. Select chapters adhering to these guidelines: “Blocks Versus Knots: Bauhaus Women
Weavers’ Contribution to Architecture’s Canon” by Harriet Harriss, “Together Not Apart: Creating
Constellations in Learning from an Archive” by Donna W. Dunay, “Flora Ruchat-Roncati and the
‘Will to Keep Working’” by Irina Davidovici and Katia Frey, and “Collaborations: The Architecture
and Art of Sigrid Miller Pollin” by Margaret Birney Vickery.
A variety of other approaches have strong potential to provide with stimulating opportunities for
research and debates, for instance, a collection of writings that uses the prism of gender studies to
examine different aspects related to the profession, including social and personal status and wealth,
ideologies and activism, individualist and collectivist philosophies, and networking strategies and
tactics of professional involvement. Among chapters informed by these guidelines are “The Forgot-
ten Art of Florence Hope Luscomb” by Mary Anne Hunting and Kevin D. Murphy, “Architect,
Partner, Wife: Mid-Century Husband-and-Wife Partnerships” by Kate Reggev, and “Architect,
Builder, Client, Secretary: The Women of the Sarasota School” by Christopher S. Wilson.
A reflective thread of contributions that would ignite a cross-disciplinary discourse reveals wom-
en’s remarkable scale of engagement, mapping local vs. global contexts. Of significant weight here
are the case studies presented in the following chapters: “Lutah Maria Riggs: Portrait of a Modern
Revival-Style Architect” by Volker M. Welter, “Regarding De Stijl Through a Gender Perspec-
tive: The Life and Work of Han Schröder” by Rixt Hoekstra, “Restless: Drawn by Zaha Hadid”
by Nerma Cridge, “Breaking the Silence: Women in Russian Architecture” by Anna Sokolina, and
“Leaving a Lasting Legacy. Beverly Willis: Groundbreaking Architect, Artist, Designer, Filmmaker,
and Philanthropist” by Kathryn H. Anthony and Shailee Dave.
Another collection profiles professional women with strong writing skills: authors, critics, edi-
tors, educators, publishers, architecture commissioners, and collectors who consulted, inspired, and

2
 Introduction

shaped built environments and architectural thought. Among the chapters presenting important
discoveries by authors preoccupied with relevant excavations of historical materials are “Consulting
and Curating the Modern Interior: The Work of Hilde Reiss, 1943–1946” by Erin McKellar, and
“Katherine Morrow Ford: Designs for Living” by Katherine Kaford Papineau.
Studies on the interconnections between architecture and art, landscape, and interior design as a
complex approach to the built environment are highlighted in the chapters “Nell Brooker Mayhew
and the Arts and Crafts Movement in America” by Brian Adams, “Eileen Gray: Invitation to an
Intellectual Journey” by Carmen Espegel, “Blocks Versus Knots: Bauhaus Women Weavers’ Contri-
bution to Architecture’s Canon” by Harriet Harriss, “ ‘Mrs. Meric Callery’” by Jan Frohburg, and
“ ‘Something More Solid and Massive’: The Architecture of Lauretta Vinciarelli” by Rebecca Siefert.
Established patriarchal settings are still with us, challenging the 2020 National Council of Archi-
tectural Registration Boards Report that affirms that in the US, improvements in licensure candi-
dates and new architects with greater diversity are more visible than ever.4 Interactive connections
based on national and international networks help to disseminate global data on women’s professional
achievements.5 The aspiration of our publication is to contribute to a dialogue that calls for transpar-
ency and explores networks of women that play a role in the process of change. In this volume the
networking is addressed and expanded through the analysis of women’s narratives in the discipline.
We uncover the life and work of women from Austria, England, France, Germany, Ireland, Italy, the
Netherlands, Switzerland, and other European countries. The specific networks and practices that
provide women with opportunities to prosper, create, and compete with others are illuminated in
several chapters, among them: “ ‘This is Not a Success Story’: Florence Fulton Hobson, Architect in
Northern Ireland” by Tanja Poppelreuter, “Regarding De Stijl Through a Gender Perspective: The
Life and Work of Han Schröder” by Rixt Hoekstra, “More Than Shelter: Olive Tjaden’s Suburban
Projects in New York and Florida” by Millicent Danziger Vollono and Lauren Vollono Drapala, and
“Flora Ruchat-Roncati and the ‘Will to Keep Working’” by Irina Davidovici and Katia Frey.
We aim at an inclusive, interdisciplinary approach to the subject by introducing studies in a
broader variety of areas of the built environment. The following chapters bring to light the work
of women in landscape architecture, urban design, and city planning: “Reclaiming the Work of
Women Architects in Mandatory Palestine” by Sigal Davidi, “Together Not Apart: Creating Con-
stellations in Learning from an Archive” by Donna W. Dunay, “Uncovering Her Archive: Ayla Kara-
cabey in Postwar Architecture” by Meral Ekincioglu, and “Reflections: Creating an Architectural
Practice” by Diane Elliott Gayer.
Our discipline is in urgent need of examination in light of global transitions. A transnational
inquiry can help avoid negative confrontations. For instance, the debates on architecture of select
non-Western regions—that is, of African, South American, Central and Eastern European, or
Central and Eastern Asian topographies—still remain scarce. Also, arguably for reasons other than
scholarship, we lack studies on architecture in Russia, a country which covers the Eurasian terrain
two-and-a-half times the size of the US, where, since the second half of the twentieth century,
the workforce in many fields of the built environment has been largely female. In particular,
women dominate older demographics due to the considerable extinction of men to warfare—
over 25 million dead during World War II, most of them male. Yet the profession there is ruled
primarily by men.
While the world is divided, polarizations lead to the lack of visibility, transparency, and mutual
understanding across cultures, societies, and geographies. By simultaneously illuminating overlooked
networks and reviewing the fabric of world histories, the contribution of women to architecture
can be revealed and integrated into the primary stream. We have sourced a wide range of studies
and have unearthed some real gems. The chapters in our volume have brought about new questions,
such as what was happening in other localities and cultures, and what was the nature of sociopolitical
transformations that might have involved change?

3
 Anna Sokolina

We leave out the narratives focused in particular on the feminist movement, or those preoccupied
with compare-contrast investigations of male vs. female proficiencies. Topics of that nature may be
the subject matter of another discipline. Our book has been envisioned as an architecture history
resource, integrating discoveries that mine substantial layers of data still hidden in the archives and
broaden the geographic horizons of learning.

Subject Areas and Audience

We hope to energize the growing interest in broadening architectural history with a volume that
provides fascinating new role models. In 2017 in the UK, Dr. Harriet Harriss identified the problem,
noting that:

[the] lack of gender parity in architecture and interior design reading lists highlight the
extent to which inequalities in the profession are being sustained and maintained by schools
of architecture—both in terms of their staffing profiles and their curricula content [,]

and that academic reading lists “are largely dominated by male writers, leading them to assume
that the key voices of authority within the discipline of architecture are male.”6 She emphasized
that “although one in three architectural educators in the UK are women, only 2.5 percent of UK
architecture faculty is female at Dean level.” While teaching at the Royal College of Art in London,
she composed a list seeking to “address the problem by featuring women writers in architecture”
across architecture-related subject areas to “not only encourage more female students to feel equally
represented within the profession,” but also to “encourage more of them to enter academia.”7 This
declaration of equal standing responds to the inquiry recognized in the UK by The Bartlett School
of Architecture at University College London, The Royal College of Art, The Royal Institute of the
Architects of Ireland, The Society of Architectural Historian of Great Britain, et al.; in the United
States by the majority of architecture schools; and by the growing number of educational and aca-
demic centers worldwide with an English-speaking student pool.
Our volume is envisioned as a catalyst for new programs; a general resource; and a foundation
for new cross-disciplinary surveys, courses, and modules on the subject. Our aspiration is to offer
arguments and full discursive chapters, not just brief profiles of women who have made contribu-
tions, and to empower new generations. We advocate change by featuring diverse role models
whose contributions to the built environment would encourage and inspire students, academia, and
a broader audience.

Structural Core
The contents of the book are organized in chronological order and are logistically structured to
guide the reader and outline the stages of the evolution and the expanding scale of women’s engage-
ment in the field. The framework of thematic threads ties the parts of the volume into a consistent
whole. The book begins with the dedication, precis, list of illustrations, contributors’ biographies,
preface, and acknowledgments and concludes with an index.
All chapters display a clearly defined narrative and a sound potential for inspiration. Chapters
are intertwined through their objectives and the novelty of research and are structured based on
a threefold grid, which implies an introduction, main part, and conclusion, accompanied with a
bibliography, detailed notes, and original illustrations with captions referring to the authenticity and
provenance of images. Archival research provides rare information on the context of reading. Col-
lected data is correlated to shape a significant cohort of women, their aspirations, and their impact
on the culture and the future of the built environment.

4
 Introduction

The core of the volume comprises five parts: I. Women in the Early Profession and Leadership:
Preindustrial Age to Early Twentieth Century. From Domestic Realms Into Public Life and Culture; II.
Women in the Modern Movement: The First Half of the Twentieth Century. The Limits of Engage-
ment in the Architectural Profession and the Agenda of “Modern” Work; III. Women in the Context
of Mid-Century Modernism. Mainstream Practice Formations, Public Engagement, and Women’s Wider
Agency in the Field; IV. Women in Architecture of the Late Twentieth Century. Architectural Work and
Urban Planning: Drawing, Building, Educating, Archiving; V. Women in Architecture: From the 1960s
to the Present. Breaking the Glass Ceiling.
Each chapter can stand on its own and presents authoritative overviews of significant topics:
the stories and images in these pages reflect the vibrancy and resiliency of talented women. The
chapters reveal the commitment of the authors to illuminating broader topographies that advocate a
forthright take on portraits of practicing architects, outstanding leaders, teachers, writers, critics, and
other kinds of protagonists in the built environment.
The proposed margins, as in any theoretical assumption, are schematic and engage overlaps of
timeframes and territories. Historical topographies studied by the authors are informed by the earli-
est available references, from the preindustrial age to the present. Commissioned internationally, the
carefully selected collection of chapters creates a cohesive read and presents our constantly expand-
ing field. The gap is bridged between the impressive yet largely incomplete mosaic readings, the
important yet split insights into individual powerful narratives, and the in-depth yet divided studies
of regional vistas.

The Context: Positioning Guidelines

A range of essential features distinguishes our book among academic publications on the subject. An
interlinked collection of studies of broad geographic range, detailed and chronologically structured,
is vital since a noticeable absence of the inclusive records available from accessible resources both
in a digital and a hard-copy format is apparent. We offer a more in-depth look at the remarkable
women included in this collection, which is more up-to-date and more global than the other cur-
rently available publications.
The majority of online platforms, though reflecting on a significant presence of professional
women and containing names and references to the built objects and milestones of life and career, are
of descriptive nature, skimming the subject, for example, “30 Must-Know Women Architects” by
Azure magazine, or “Women in Architecture: 10 Successful Female Architects You Should Know,”
or “5 Female Architects Who Shaped the History of Architecture” by ARCH20, or Architizer’s
“From A to Zaha: 26 Women Who Changed Architecture.”8
During recent years, a range of academic gatherings have been followed by new publications.
Many of those are focused on the feminist agenda and are rather concerned with political and
societal standing of women in profession. For instance, at the Becoming ‘We’ forum at the Bartlett
School of Architecture of University College London in 2018, six new titles were launched.9
Earlier books of a similar nature from the 1980s and 1990s would include the groundbreaking
Grand Domestic Revolution by Dolores Hayden, Alice T. Friedman’s seminal Women and the Mak-
ing of the Modern House, and The Architect: Reconstructing Her Practice, edited by Francesca Hughes.
Scholarly reviews of these resources recognized them as important readings that alter traditional
Western histories.
Current sociopolitical trends have made gender and architecture an increasingly compelling topic.
The building of resources is being informed to some extent by feminist projects such as MoMoWo,
which exposes the diversity of contributions of women in the fields of architecture and design in
Europe, and the forthcoming Bloomsbury Global Encyclopedia of Women in Architecture, 1960–2015,
edited by Lori Brown and Karen Burns, with the contents tied to the feminist agenda.10

5
 Anna Sokolina

We aim at a different approach: this anthology is instrumental firsthand for the discipline of
architecture. Our objectives reflect on the practical need for a new architectural history book as a
resource for more inclusive readings justified through the lens of equity and historical fairness. From
the preindustrial age to the present, a wider and deeper coverage is provided of women’s diverse
contributions to the built environment of a range of European countries, as well as the United
States, Hawaii, Japan, Mongolia, and Rwanda in Africa. Regional voices broaden the international
panorama—from Israel, studying the architecture of Palestine under the British Mandate; to Russia,
featuring women’s work starting from the 1920s to the present; to Turkey, comparing and contrast-
ing professional settings for women in the Republic of Turkey and the United States in the period
of the 1950s–1970s; to Ireland, investigating the life and career of a woman architect seeking her
independent identity within national contexts during a time of change; and many others.

Geographic Appeal
Geographic appeal to North American, European, and, inclusively, Australian readership reflects
on women’s struggle to rise to leadership positions.11 Due to the fact that professional achievements
of women are underrepresented in architecture textbooks, the historical role models for women
are largely missing in the curricula of architecture schools offering a limited number of courses on
the subject in the US and Western Europe. These classes are being taught, for instance, at ETH in
Zürich, Switzerland; at the Architectural Association School of Architecture; and at the School of
Architecture of Royal College of Art in London, UK. In the US, courses are increasingly offered at
UMass Amherst, the Pratt Institute in NYC, Virginia Tech, and Amherst College, among others.
The growing number of modules and classes are in urgent need of an architectural history book
such as ours.
With this publication, we also hope to open up teaching opportunities on the subject in schools
and universities in emerging regions of the Middle East, Central and East Asia, the Pacific Islands,
South Africa, and the countries of Latin America, while the enrollment of women in professional
architecture and liberal arts schools in some of those areas is staggering, and the need for role models
of all scales and ranges, as presented in our volume, is evident. We hope that this book will stimulate
a greater and more consistent interest and secure a broader knowledge base.
A revision of history has been endeavored in Canada, in part by Building Equality in Architecture
(BEA Toronto), which hosted a series of virtual events including the program “For Her Record:
Notes on the Work of Blanche Lemco van Ginkel” in collaboration with the Daniels Faculty of
Architecture, Landscape, and Design at University of Toronto and the Peter Guo-hua Fu School
of Architecture at McGill University.12 One of the arguments presented there by Annmarie Adams
and Peta Tancred revealed that the scene in Eastern Europe opened the gates for Canadian women
architects. This argument has never been made for the US.
In fact, the concept of gender equality had been originally introduced to the Eastern Bloc by the
Soviet Union. The 1917 socialist revolution in Russia emancipated women: they gained equal civil
rights, including free education and medical care, and from the mid-1930s until the end of social-
ism in 1991, they were required to work full-time next to their male counterparts. Over the second
half of the twentieth century, professional women in the USSR outnumbered men, also due to the
loss of the male population to warfare. On the one hand, the postwar scene across Eastern Europe
was the subject of the state’s interference. Architectural education, city planning, and all areas of
design signaled an intimate collaboration between the Eastern European governments and Soviet
authorities.13 On the other hand, women’s prevalence there turned into a lasting phenomenon. Dur-
ing the Cold War era, depending on the political momentum, the Iron Curtain would sometimes
recourse to limited cooperation with the West. After the collapse of socialism in the Soviet Union,
the Eastern Bloc fell apart, the window to the West reopened, and the waves of emigration from

6
 Introduction

communal terrains brought many trained female professionals to North America. Simultaneously, a
strong argument of reforming socialist economies geared a new East-West professional exchange. It
also raised women’s awareness of professional equality and fostered women’s networks and leadership
across borders.

Readings and Landmarks

Two types of scholarship on the subject available today are informed by either qualitative inves-
tigations or quantitative inquiries, communicating an important difference in approaching the
theme. They either present the more in-depth research and focused case studies, or the over-
sight data containing condensed narratives. That second subgroup has a broader representation
and has been instrumental in responding to the need for basic knowledge on women’s creative
contributions, even more so due to the mobility and accessibility crisis in the time of a global
pandemic.
The collections that secure online access to the digitized data present records with a regional
focus, such as the BWAF website “50 Pioneering Women of American Architecture”; with a
descriptive focus, that is, the International Archive of Women in Architecture housed at Virginia
Tech; or in languages other than English, for instance, Un Día / Una Arquitecta.14
Currently available hard-copy publications can be systematized in four groups: 1. Traditional
architectural history books with rare references to the presence of women in the field, 2. Border and
cross-disciplinary studies, 3. Regional research, and 4. In-depth case studies.
1. The traditional approach to studies in architecture continues to dominate the field. New publi-
cations emerge annually and are supported by the majority of publishers. The references to women’s
narratives there are rare and incomplete.
2. Border studies display cross-disciplinary properties by blurring the margins between traditional
areas of research on the role and status of women in society. The investigations tend to approach our
subject by generalizing the issues, the most relevant cluster of publications has been developed for
high school programs. These books and essays are resourceful yet do not provide detailed references
to architecture.15
3. Another reference pool is fueled by regional agendas and is composed of scholarship on
architecture. These publications include mostly positivist accounts aimed at celebrating women’s
contributions to the discipline. Those presented in shorter studies have been published online
or in professional media.16 Rare in-depth studies in this group with regional perspective—for
example, the anthology Ideological Equals: Women Architects in Socialist Europe 1945–1989,
edited by Mary Pepchinski and Mariann Simon; the volumes Women Architects in India:
Histories of Practice in Mumbai and Delhi by Mary N. Woods, Women Designers in the USA,
1900–2000: Diversity and Difference by Pat Kirkham, and Women Architects in Australia 1900–1960
by Julie Willis and Bronwyn Hanna; other Australian publications over the last two decades; and
novel approaches introduced by Canadian scholars during recent years—have more relevancy to
our volume and, if combined with this book, would advocate an even more effective reading.17
4. In-depth case studies on women’s narratives in architecture.18
A group of earlier studies published two to three decades ago explored opportunities for
change and paved the way for us.19 The titles introducing a unique author’s perception of the
subject are rather rare and are primarily focused on American architecture.20 The proposed
bibliography has no ambition to cover all published work on this important subject and aims
to support our Introduction by providing initial feedback and stimulating further research.
My sincere gratitude goes to Barbara Ann Opar, Architecture Librarian, Syracuse University
Library, with whom I have the privilege of co-chairing the SAH WiA AG Registers Commit-
tee. A considerable part of this list is a product of her contribution of time and talent to creating

7
 Anna Sokolina

and maintaining, with her students, a catalogue of publications on women in our profession
across time and place.
I believe that an inclusive, integral approach to history that follows the evolutionary stages of
women’s professional engagement is essential, as it has been presented in our book. Several forth-
coming publications respond to the urgency of uncovering extensive vistas by numbers.21 That
activity confirms the importance of the volume in our format, providing deeper interconnected
insights into the contribution of women to the built environment across borders.

Notes
1. Among numerous remarkable archives, I reference here three gems: International Archive of Women in
Architecture, https://spec.lib.vt.edu/iawa/; Beverly Willis Architecture Foundation, Dynamic National
Archive, https://dna.bwaf.org/; Society of Architectural Historians Digital Resources, www.sah.org/pub
lications-and-research/digital-resources. All sites accessed November 4, 2020.
2. Statistical data: Eleanor Marshall, “The Gender Pay Gap in Architecture,” Archinect, October 10, 2019,
accessed November 6, 2020, https://archinect.com/features/article/150163865/the-gender-pay-gap-in-
architecture.
3. The trifold approach is informed by the session co-chaired by Anna Sokolina and Paola Zellner, PS05
“Life to Architecture: Uncovering Women’s Narratives,” SAH Saint Paul 71st Annual International Confer-
ence April 18–22, 2018, Conference Program (SAH, 2018), 16, 76. Also: Abstracts of Papers Presented at the
71st Annual International Conference of the Society of Architectural Historians, St. Paul, MN, April 18–22, 2018,
20–24.
4. 2020 NCARB by the Numbers, www.ncarb.org/nbtn2020/demographics; assessment of gender distri-
butions in United Nations Population Division: World Population Prospects: 2019 Revision, “Popula-
tion, Female (% of Total Population),” https://data.worldbank.org/indicator/sp.pop.totl.fe.zs. Also:
NCARB Report 2019, www.ncarb.org/nbtn2017/demographics. AIA statistics retrieved from: Bruce
Tether, “How Architecture Cheats Women: Results of the 2017 Women in Architecture Survey
Revealed,” The Architectural Review (February 27, 2017), www.architectural-review.com/10017497.
article, and Bruce Tether, “Results of the 2016 Women in Architecture Survey Revealed,” The Archi-
tectural Review (February 26, 2016), www.architectural-review.com/essays/results-of-the-2016-women-in-
architecture-survey-revealed/10003314: all listed sites accessed November 5, 2020.
5. A session co-chaired by Anna P. Sokolina and Marcia F. Feuerstein, “Women in Architecture: Global Net-
works,” has been proposed twice but was not accepted by the SAH Conference Committee of the 73rd
SAH Annual International Conference in Seattle, WA, in 2020 or the 72nd SAH Annual International
Conference in Providence, RI, in 2019.
6. Harriet Harriss, “Women Writing About Architecture Reading List,” September 15, 2017, accessed
November 9, 2020, https://womenwritearchitecture.wordpress.com/author/harrietharriss.
7. Ibid.
8. Azure, published March 7, 2017, www.azuremagazine.com/article/30-must-know-women-architects/;
ARCH20, www.arch2o.com/women-in-architecture-10-successful-female-architects-you-should-know/
and www.arch2o.com/5-female-architects-who-shaped-the-history-of-architecture/; Architizer, https://
architizer.com/blog/inspiration/industry/from-a-to-zaha-26-women-who-changed-architecture/. All sites
accessed November 5, 2020.
9. Published March 9, 2018, accessed November 5, 2020, www.ucl.ac.uk/bartlett/architecture/events/2018/
mar/becoming-we-forum-celebrating-feminist-spatial-practice.
10. MoMoWo Project, accessed November 5, 2020, www.momowo.eu/momowo-project.
11. Historical data in: Lian Chikako Chang, “Where Are the Women? Measuring Progress on Gender in
Architecture,” ACSA Research + Information, published October 2014, www.acsa-arch.org/resources/
data-resources/where-are-the-women-measuring-progress-on-gender-in-architecture/; Steve Cimino,
“Diversity: Not a ‘Women-Only Problem’, ” published May 27, 2016, http://new.aia.org/articles/13086-
diversity-not-a-women-only-problem. All sites accessed November 2, 2020. According to the research
published by ACSA, in the US women constituted 42 percent of recent architecture graduates; according
to the AIA report, we made up only 18 percent of registered architects in the AIA and 25.3 percent in the
profession.

8
 Introduction

12. “For Her Record: Notes on the Work of Blanche Lemco van Ginkel,” Daniels Faculty of Architecture,
Landscape, and Design, University of Toronto, the Peter Guo-hua Fu School of Architecture, McGill
University, and BEA Canada, Virtual Event, November 12, 2020, speakers: Phyllis Lambert (Canadian
Centre for Architecture), Mary McLeod (Columbia University), Ipek Mehmetoglu, moderators Laura
Miller (Daniels Faculty) and Brigitte Shim (Daniels Faculty), accessed October 29, 2020, www.mcgill.ca/
architecture/news-events/announcements/forherrecord2020.
13. My PhD thesis covered that collaboration between the German Democratic Republic and the Soviet
Union: Anna Petrovna Sokolina, “Interpreting Traditions in Architecture: East Germany 1945–1990”
[Osvoienie traditsiy v arkhitekture GDR], PhD thesis, Moscow: VNIITAG, 1991. 18.00.01 Theory and
History of Architecture, Restoration and Landmarks Preservation. State Architecture and City Planning
Committee, VNIITAG All-Union Academic Research Institute of Theory of Architecture and City Plan-
ning. In two volumes, 226 pp. and 70 pp., 25 analytical presentation panels, 40 x 60 cm ea. Also: Anna
Petrovna Sokolina, Authoreferat. Interpreting Traditions in Architecture: East Germany 1945–1990 [Osvoienie
traditsiy v arkhitekture GDR] (M.: VNIITAG, 1991).
14. https://pioneeringwomen.bwaf.org—Professor Annmarie Adams in her letter to Anna Sokolina noted that
the title of the collection is inaccurate because the Canadian architect Blanche Lemco van Ginkel is also
included; http://iawa.lib.vt.edu/; and https://undiaunaarquitecta.wordpress.com. Edited by Inés Moisset,
the Un Día / Una Arquitecta online project aims at circa five thousand narratives, presenting a reference
resource for the Spanish-language audience. All sites accessed November 1, 2020.
15. Examples:
Melissa J. Gillis and Andrew T. Jacobs, Introduction to Women’s and Gender Studies: An Interdisciplinary
Approach (Oxford: Oxford University Press, 2016). This textbook is student centered, covering interdisci-
plinary women’s, gender, and sexuality concepts so that students are prepared for further courses in a variety
of disciplines.
Paula S. Rothenberg, Race, Class, and Gender in the United States: An Integrated Study, 10th edn (New
York: Worth Publishers, 2016). This anthology addresses concepts of identity, diversity, and inequality as it
introduces students to race, class, and gender in the US, featuring thirty-eight readings on citizenship and
immigration, transgender identity, etc.
Anna M. Lewis, Women of Steel and Stone: 22 Inspirational Architects, Engineers, and Landscape Designers
(Chicago: Chicago Review Press, 2014, reprint edn, 2017). This grade 7–9 textbook profiles twenty-two
architects, engineers, and landscape designers to inspire new generations of girls increasingly engaged in
STEM fields.
Karen Bush Gibson, Women in Space: 23 Stories of First Flights, Scientific Missions, and Gravity-Breaking Adven-
tures (Chicago: Chicago Review Press, 2014). This grade 7–9 textbook illuminates twenty-three pioneers,
including Eileen Collins, the first woman to command the space shuttle; Peggy Whitson, who logged more
than a year in orbit aboard the International Space Station; and Mae Jemison, the first African American
woman in space; as well as astronauts from Japan, Canada, Italy, and more. Though they sometimes surpassed
their male counterparts in performance, they were denied the opportunity to head out to the launching pad.
16. Examples:
Elizabeth Darling and Lynne Walker, Paving the Way: Celebrating a Centenary of Women at London’s Architec-
tural Association, published November 14, 2017, accessed November 1, 2020, www.archdaily.com/883572/
paving-the-way-celebrating-a-centenary-of-women-at-londons-architectural-association. This essay, writ-
ten by the curators of AA XX 100, a multimedia project celebrating the centenary of women in London’s
AA (1917–2017), features Zaha Hadid, Amanda Levete, Denise Scott Brown, and others who studied at
the AA School of Architecture.
17. Examples:
Mary Pepchinski and Mariann Simon, eds, Ideological Equals: Women Architects in Socialist Europe 1945–
1989 (London: Routledge, 2016). This anthology chronicles the massive efforts of women of the postwar
generation in Eastern Europe who received engineering and architecture degrees motivated by their pri-
mary role of rebuilding their homeland.
Inge Schaefer Horton, Early Women Architects of the San Francisco Bay Area: The Lives and Work of Fifty
Professionals, 1890–1951 ( Jefferson, NC: McFarland, 2010). This book chronicles the lives and work of fifty
largely unknown regional pioneers. Informed by photographs of buildings, portraits of the architects, and
some architectural drawings, each biography offers a description of the career, a list of known buildings and
work, and a bibliography, followed by listings of female architecture students at the University of California,
Berkeley; women certified by California to practice architecture; members of women’s architectural socie-
ties; and female members of the AIA.

9
 Anna Sokolina

Despina Stratigakos, A Women’s Berlin: Building the Modern City (Minneapolis: University of Minnesota
Press, 2008).
Susana Torre, ed., Women in American Architecture: A Historic and Contemporary Perspective. A Publication and
Exhibition Organized by the Architectural League of New York (New York: Watson-Guptill Publications, 1977).
This study of women’s achievements in American architecture descriptively reviews the careers of women
practicing architecture and architectural critics.
Mary N. Woods, Women Architects in India: Histories of Practice in Mumbai and Delhi (London: Routledge,
2016).
18. Example: Monica Penick, Tastemaker: Elizabeth Gordon, House Beautiful, and the Postwar American Home
(New Haven: Yale University Press, 2017).
19. Examples in chronological retrospective:
Maggie Toy, ed., The Architect: Women in Contemporary Architecture (New York: Watson-Guptill, 2001).
This volume introduces thirty-three contemporary women architects by presenting a photograph, a per-
sonal statement and professional history, a firm profile, and illustrated projects. A celebratory approach and
significant temporal and regional constraints are apparent.
Cheris Kramarae and Dale Spender, eds, Routledge International Encyclopedia of Women: Global Women’s
Issues and Knowledge (New York: Routledge, 2000). This interdisciplinary publication identifies women’s
issues on the global scale and catalogues data on pioneers in the field of women’s studies.
Jane Rendell, Barbara Penner, and Iain Borden, eds, Gender Space Architecture: An Interdisciplinary Introduc-
tion (London: Routledge, 1999). This volume provides an overview of the relationships between gender,
space, and architectural theory composed by interdisciplinary scholars. Informed by use of varied interdis-
ciplinary methodologies, it can be assessed today as an introductory reading resource.
Ellen Perry Berkeley and Matilda McQuaid, eds, Architecture: A Place for Women (Washington, DC:
Smithsonian, 1989). The volume examines the achievements of women in the field of architecture of the
twentieth century yet is limited to presenting architects from the US and Western Europe only, lacking
broader international reflections.
20. Rare examples:
Tanja Kullack, ed., Architecture: A Woman’s Profession (Berlin: Jovis, 2011). In this edition, American and
European architects Barbara Bestor, Caroline Bos, Alison Brooks, and Jeanne Gang discuss their experi-
ences and their visions for the future of the profession.
Despina Stratigakos, Where Are the Women Architects? (Places Books and Princeton University Press,
2016). This compact reading presents an insight into the status of women in architecture informed by the
glass ceiling in the profession, stresses the rise of new advocacy, and explores opportunities for change.
21. Examples:
Lori A. Brown and Karen Burns, eds, Bloomsbury Global Encyclopedia of Women in Architecture 1960–2015
(London: Bloomsbury, forthcoming). This publication comprises numerous introductory records and con-
tains short (60–200 words: 40 percent of the volume), medium (200–500 words: 40 percent), and longer
(1000–2000 words: 20 percent) entries.
Marcia F. Feuerstein, Jodi La Coe, and Paola Zellner, Expanding Field: Women in Architecture, Forty Pro-
jects Across the Globe (London: Lund Humphries, forthcoming). The book provides information on select
designs by women.

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10
 Introduction

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Blocks Versus Knots

*
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Lutah Maria Riggs

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Regarding De Stijl Through a Gender Perspective

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¶

Reclaiming the Work of Women Architects in Mandatory Palestine

Barkai, Sam , and Julius Posener . â Maisons de Jeunes EmigrÃ
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Close Competition for Building a Pioneer Womenâ
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€ •Doar Hayom, 3 April 1935, 3.
€
Competition among Architects for Designing a Square in the Name of Zina Dizengoff.â
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€
â •HaBinyan (December
€
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Competition for Planning a Synagogue in Hadera.â
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â •The Palestine Post, August 6, 1944, 3.
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Grundig, Lea . â The Woman Architect of Eretz Yisrael.â
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€ •Dvar HaPoâ
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2000.

More Than Shelter

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€ •Broward Legacy 26, no. 1 (2006).
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€ •Journal of
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Lois Davidson Gottlieb

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The Importance of Everyday Objects.â
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Lees-Maffei, Grace . Design at Home: Domestic Advice Books in Britain and the USA Since 1945. New York:
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€
â •California Arts and Architecture (December 1942): 24â
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Architect, Partner, Wife

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Mrs. Meric Calleryâ

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Martin, Manuel . El Cadaquà s de Peter Harnden i Lanfranco Bombelli. Girona: Col.legi dâ
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Katherine Morrow Ford

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€
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Ford, Katherine Morrow , and Thomas H. Creighton . The American House of Today: 85 Notable Examples.
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Ford, Katherine Morrow , and Thomas H. Creighton . Contemporary Houses Evaluated by Their Owners. New
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Writer Found Dead.â
œ
€
â •The New York Times, June 27, 1959.
€

Architect, Builder, Client, Secretary

Bergen, Brooksie . â Mary Hook Brought Her Skill, Love to Siesta.â
œ
€ •Sarasota Herald-Tribune, April 27, 1994, 7B.
€
Cottage Industry.â
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€
â •Sarasota Herald-Tribune, May 2, 2004.
€
Cox, Billy . â
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œ
€ •Sarasota Herald-Tribune, January 2,
€
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Design Dominates Richmond Models.â
œ
€
â •Sarasota Herald-Tribune, November 15, 1960, 4.
€
Former Sarasotan Happy to Be Home.â
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€
â •Sarasota Herald-Tribune, October 9, 1936, 5.
€
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248 Howey, John . The Sarasota School of Architecture. Cambridge, MA: MIT Press, 1997.
Lavin, Claire . â
The Amazing Young Wives of Commonwealth Avenue.â
œ
€ •Ocala Star Banner (All Florida Weekly
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€
McCall, Lee . âHooked on Architecture.â
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€ •Sarasota Herald-Tribune (Florida West Supplement), December 4, 1977,
€
3â
4.
“
€
Miller, Betty Jean . â
Story Behind Ruth Richmond.â
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€ •St. Petersburg Independent, February 3, 1978, 3D.
€
Plunkett, Robert . âHome of the Month: School Spirit.â
œ
€ •Sarasota Observer, March 12, 2014, 35â
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“
€
Plunkett, Robert . âDoorknobs by Sarasota Design Pioneer Ruth Richmond are Hot Collectibles.â
œ
€ •
€Sarasota
Magazine, September 2016.
Richmond Has Shown Rapid Rise.â
œ
€
â •Naples Daily News, October 27, 1977, 74.
€
West, Jack . The Lives of an Architect. Sarasota, FL: Fauve Publishers, 1988.
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€ •Sarasota Herald-Tribune, February 8,
€
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€ s Growth.â
™
€ •Sarasota Herald-Tribune, August 8,
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2008.
Together Not Apart
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€ •IAWA
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Newsletter 7 (1995): 1.
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€ Thinking Contemporary Curatingâ
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ۥModern Painters,
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€ •IAWA Newsletter 1 (1989): 2â
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€.
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Ruins in the Realm of Thoughts: Reading as Constellation in Anglo-Saxon Poetry.â
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of English and Germanic Philology 108, no. 2 (2009): 141â 167.
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“
€

Womenâ
s Contributions to Manitobaâ
™
€ s Built Environment
™
€
Adams, Annmarie , and Peta Tancred . â Designing Womenâ
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€ : Gender and the Architectural Profession. Toronto:
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€
University of Toronto Press, 2000.
Architect Likes Winnipeg Spaciousness.â
œ
€
â •The Winnipeg Tribune, February 6, 1959.
€
Architect Sees Scope for Planning.â
œ
€
â •Winnipeg Free Press, January 1, 1959.
€
Arthur, Eric R. â
The National Gallery of Canada Competition.â
œ
€ •Journal of the Royal Architectural Institute of
€
Canada 31, no. 4 (1954): 104â 117.
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€
Brown and Gold Yearbooks collection. University of Manitoba Archives and Special Collections. Winnipeg,
Manitoba, Canada.
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œ
€ •JSSAC 24, no. 2 (1991): 61â
€ 69.
“
€
Crossman, Kelly . â The Meaning of White.â
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€ •In Winnipeg Modern: Architecture, 1945â
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€
Keshavjee , 131â 152. Winnipeg: University of Manitoba Press, 2006.
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€
Elizabeth Pilcher.â
œ
€
â •Vertical Files. Winnipeg Architecture Foundation, Winnipeg, Manitoba, Canada.
€
Flaman, Bernard . â The Winnipeg Airport: Modernism, Culture, and the Romance of Air Travel.â
œ
€ •In Winnipeg
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€
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€
in Architecture in Canada.â •SAAC Bulletin (March 1991): 5â
€ 11
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€
Green Blankstein Russell.â
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€
â •Canadian Architect 5, no. 6 (1960): 68â
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“
€
Green Blankstein Russell Newsletter. Green Blankstein Russell fonds. Winnipeg Architecture Foundation ,
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Hanna, Bronwyn J. â Absence and Presence: A Historiography of Early Women Architects in New South Wales.â
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€ •
€
PhD diss., University of New South Wales, Kensington, Australia, 1999.
Keshavjee, Serena . â Modified Modernism.â
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€ •In Winnipeg Modern: Architecture, 1945â
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€
Keshavjee , 3â28. Winnipeg: University of Manitoba Press, 2006.
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€
Marjorie Mutch.â
œ
€
â •Vertical Files. Winnipeg Architecture Foundation, Winnipeg, Manitoba, Canada.
€
Most Exciting Building in Town.â
œ
€
â •The Winnipeg Tribune, November 21, 1963.
€
Personal Mentions: Female Architects.â
œ
€
â •The Daily Gleaner, May 31, 1974.
€
Professional Decoratorâ
œ
€
â s Work Is Satisfying and Excitingâ
™
€ Says Miss Marjorie Mutch.â
”
€ •The Winnipeg Tribune,
€
August 7, 1947.
Report on the Competition: A City Hall for Winnipeg. 1959. Vertical Files. Winnipeg Architecture Foundation,
Winnipeg, Manitoba, Canada.
She Left Because She Was a Woman.â
œ
€
â •The Sun-Herald, October 28, 1962.
€
Shipâ
œ
€
â s Officers Entertain.â
™
€ •Sydney Morning Herald, April 23, 1946.
€
Social Notes.â
œ
€
â •The Winnipeg Tribune, May 28, 1960.
€
Sparke, Penny . As Long as Itâs Pink: The Sexual Politics of Taste. London: Pandora, 1994.
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€
Sparke, Penny . âTaste and the Interior Designer.â
œ
€ •In After Taste: Expanded Practice in Interior Design, edited by
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Penny Sparke , Kent Klinman , Joana Merwood-Salisbury , and Lois Weinthal , 14â 27. New York: Princeton
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€
Architectural Press, 2012.
275 Thorsteinson, Jeffrey . â
A Forgotten Figure: Milton S. Osborne and the History of Modern Architecture in
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€
Manitoba.â•Paper presented at the 45th Annual Conference of the Society for the Study of Architecture in
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Canada, Halifax, Canada, May 28â 31, 2019.
“
€
Thorsteinson, Jeffrey , and Brennan Smith . Green Blankstein Russell: An Architectural Legacy. Winnipeg:
Winnipeg Architecture Foundation, 2017.
Warm and Dignity Too in City Hall Showpiece.â
œ
€
â •Winnipeg Free Press, September 22, 1964.
€
Winnipeg Girl Holds Unique Post as Interior Designer.â
œ
€
â •Winnipeg Free Press, January 26, 1946.
€

Uncovering Her Archive

âIA Diversity and Inclusion Statement.â
A
œ
€ •The American Institute of Architects. www.aia.org/pages/15346-
€
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American Friends of the Middle East. Annual Report 1956â 1957.
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€
Bergdoll, Barry . â Encountering America: Marcel Breuer and the Discourses of the Vernacular from Budapest to
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€
Boston.â •In Marcel Breuer Design and Architecture, edited by Alexander Von Vegesack and Mathias Remmele ,
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260â 307. Weil am Rhein, Germany: Vitra Design Museum, 2013.
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€
Bergdoll, Barry , and Jonathan Massey , eds. Marcel Breuer: Building Global Institutions. ZÃ rich: Lars MÃ
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Berk, Celile . â
A Tuberculosis Sanatorium for Istanbul Turkey.â
œ
€ •MA thesis, Massachusetts Institute of Technology,
€
Cambridge, MA , 1947.
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€ s Postwar Modernism: A Retrospective Overview of Architecture, Urbanism, and
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€
Politics in the 1950s.â •In Mid-Century Modernism in Turkey, Architecture Across Cultures in the 1950s and
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1960s, edited by Meltem Gurel , 9â 26. New York and London: Routledge, 2015.
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€
Bozdogan, Sibel , and Esra Akcan . Turkey: Modern Architectures in History. London: Reaktion Books, 2012.
Davis II, Charles L. â Framing the Facts: Moving Beyond a Multicultural Survey of Architectural History.â
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€ •
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Proceedings for the 2012 ACSA International Conference. https://raceandarchitecture.com/2013/03/07/framing-
the-facts-moving-beyond-a-multicultural-survey-of-architectural-history/.
Diversity in the Profession of Architecture. Executive Summary 2016.â
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€
â •The American Institute of Architects.
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€
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±
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€ Sisa Architectural Practice from the 1960s to 2000: Construction of the Design.
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€
Architectâ s Professional Role in Modern Turkey.â
™
€ •PhD diss., Istanbul Technical University, Turkey, 2011.
€
Erdonmez, Ahmet . â A Success Story of a Turkish Woman from Bursa to the U.S. in the Republican Period
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€
[Cumhuriyet DÃ neminde Bursaâ
¶ dan Amerikaâ
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€ y™
€a bir Turk Kadininin Basari Oykusu].â •Bursa City Museum, Bursa,
€
Turkey, Marchâ May 2016.
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€
Frampton, Kenneth . â Chinese Architecture.â
œ
€ •Harvard University ChinaGSD Distinguished Lecture. September
€
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Gatje, Robert . Marcel Breuer: A Memoir. New York: Monacelli Press, 2000.
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286 Kacel, Ela . â Intellectualism and Consumerism: Ideologies, Practices and Criticism of Common-Sense
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€
Modernism in Postwar Turkey.â •PhD diss., Cornell University, 2009.
€
Karacabey, Ayla . â French Live to Learn, While Turkish Hope to Increase Populationâ
œ
€ s Literacy.â
™
€ •The Vassar
€
Chronicle, January 1954, 3.
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œ
€ •Robert College Alumni Bulletin, February 1961.
€
Kilinc, Kivanc . âConstructing Women for the Republic: The Spatial Politics of Gender, Class, and Domesticity in
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Ankara, 1928â 1952.â
“
€ •PhD diss., State University of New York at Binghamton, 2010.
€
Marshall, Richard . â Josep Lluis Sertâ
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€ •In The Writings of Joseph Llouis Sert, edited by
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Eric Mumford , 133. New Haven: Yale University Press, in association with the Harvard University Graduate
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Side Uluslararasi Turizm Planlama Yarismasinda Derece Alan Projeler.â
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€
â •The Editorial. Arkitekt 337, no. 1
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Tekeli, Dogan . Mimarlik Zor Sanat. Istanbul: Yapi Kredi Yayinlari, 2012.
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Restless
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Something More Solid and Massiveâ

œ
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â •
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Vinciarelli, Lauretta . â
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Flora Ruchat-Roncati and the â

Will to Keep Workingâ
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€ •
€
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Expanding the Legacy

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€
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€
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€ •Slavic Review 70, no. 2 (Summer 2011): 498â
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€

Breaking the Silence

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Leaving a Lasting Legacy

Anderton, Frances . â Beverly Willis, Plucky Advocate for Women Architects, To Be Honored in Monterey.â
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€ •
€
KCRW.com , October 11, 2017. www.kcrw.com/culture/shows/design-and-architecture/beverly-willis-plucky-
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€
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Celebrating Julia Morgan, FAIA, 2014 AIA Gold Medal Recipient in Chicago.â
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€
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Beverly Willis, interview by Kathryn Anthony, New York, May 21, 2019.
Beverly Willis, telephone interview by Shailee Dave, June 27, 2019.

Reflections
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