Suchergebnisse

This article approaches post-war housing innovation in the Netherlands from a feminist perspective, shedding light on the hitherto unkown roles played by women architects. It introduces the work of Dutch women architects, some of it acknowledged at the time of its creation, some completely unknown. First, Augustine Schreuder-Gratama, one of the first female students in Delft in the 1920s, and the Women Advisory Committee (VAC) for social housing ?specifically their role as model homes exhibitions developers in the context of housing industrialisation in the 1950s, in which other organizations have been considered pioneer. Then work of Luzia Hartsuyker-Curjel from the democratization period including the second feminist wave in the 1970s and 1980s is presented. Amongst others, she proposed a 'non-hierarchical dwelling' based on feminist critique of the nuclear family home. Finally, the article presents the work of Ineke Hulshof in the 1990s and early 21st century. To conclude, this article argues that their contribution to the evolution of architecture in the Netherlands is underestimated and their role in housing innovation should be better articulated as part of the architectural records. ; Este artículo aborda la historia (e historias) en innovación en el diseño de viviendas en los Países Bajos desde la posguerra, y en ella, el rol desempeñado por algunas arquitectas. El texto recoge el trabajo de varias arquitectas holandesas, algunas reconocidas en su momento, otras completamente desconocidas. Primero, Augustine Schreuder-Gratama, una de las primeras estudiantes en Delft en los años 20, y el Comité Asesor de Mujeres (VAC) para la vivienda social, y concretamente, su rol como promotoras de exposiciones de viviendas en el contexto de la industrialización de viviendas en los años 50, en el que otras organizaciones han sido consideradas pioneras. La obra de Luzia Hartsuyker-Curjel representa el período de democratización durante los 70 y los 80. Entre otras cuestiones, la arquitecta propuso una "vivienda no jerárquica" basada en la crítica feminista a la familia nuclear. Finalmente, el artículo presenta el trabajo de Ineke Hulshof entre la década de 1990 y principios del s. XXI. Por último, este artículo sostiene que la contribución de estas profesionales de la arquitectura en los Países Bajos continúa siendo subestimada.

[Resumo] Facer arquitectura é significar, é un acto político; ten unha dimensión social. O entendemento social da produción arquitectónica significa abordar o estudo dos grupos sociais en relación á disciplina. Nun contexto de desigualdade, identificar os sesgos culturais resulta clave á hora de promover valores contemplados nos dereitos humanos como a igualdade de xénero. Nesta procura, a chegada das TIC supoñen un punto de inflexión: a democratización das tecnoloxías da información e o nacemento de novos espazos globais de comunicación veñen representando unha oportunidade inédita para a difusión e o encontro de arquitectas, investigadoras e activistas na posta en cuestión do discurso oficial da arquitectura.[Abstract] To make architecture supposes giving meaning, it is a political action; it has a social dimension. The social understanding of architectonic production means tackling the study of social groups in relation to discipline. In an inequality context, identifying cultural bias becomes key just to promote human rights like gender equality. In this pursue, the emergence of ICT means an inflexion point: the democratization of information technologies and the appearance of new global communication spaces that represent an unprecedented opportunity for diffusion and meeting of women architects, investigators and activists joined questioning the official architectural discourse

[Resumen] The remoteness of Galicia, a cultural and linguistic bridge between Portugal and Spain, did not prevent it from playing a significant role in the history of female architects in the Iberian Peninsula. Nine Galician pioneers have carved the path since the first generation of Spanish female architects outlined the precedents during the Second Spanish Republic (1931–1939). They were also present in an initial period, even if housewifization theories were intensively fueled by the dictatorship (1939–1975)likewise during the continuity period in the transition to democracy (1975–1982), and the second wave of feminism. However, it would not be until progressive democratic institutionalization (1982–1986) that more women gained access to architectural studies in university (consolidation period)but what is the legacy of these pioneers? Are Galician female architects 'in transition' yet? Based on data primarily collected by research group MAGA and released publications, this piece explores how, despite their achievements, their recognition is still superficial. And even if the number of undergraduate students reached quantitative equality, female practitioners continue to leave architecture and these numbers are increasing. Towards a critical approach to inequality in the profession, this article researches the history—and stories—of Galician female architects to examine how far we are from effective equality in the Galician architectural world.

'Women in Architecture' sheds light on how women in all their different roles contribute to architecture, from the past to the present. Despite the essential and varied contributions of women, the narrative surrounding architecture remains deeply rooted in masculinity. Nonetheless, women have played crucial roles throughout architectural history. This publication sheds light on the reasons behind the absence of women in archives and publications, and how that exclusion continues to perpetuate the invisibility of women in architecture today. By bringing together these stories, the publication adds a crucial chapter to the history of architecture in the Netherlands and advocates for greater diversity in the current architectural discourse