December 4, 2012 Alejandro Hincpie Rutgers University-Newark

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Professor Doris Caoilo Art and Women Fall 2012

A Womans Place:
A Brief Look at the Presence of Observable Femininity in the work of Contemporary Female Architects

In a letter to art patron Mabel Dodge, American painter Georgia OKeeffe wrote, I feel there is something unexplored about women that only a woman can explore.1 This notion that there intrinsically exist certain things to women that only they can discern is one supported by the extent to which female artists throughout history have commented on their femininity, womanhood, and gender issues in their work and in ways their male contemporaries did not. Indeed, the examples are extensive. At the height of the Renaissance, Italian painter Sofinisba Anguissola created a collection of portraiture that reveals an acute self-awareness of her unique position as a female artist at the time and also distinguishes her ability to connect with and stirringly capture her female subjects. Impressionist painters Marry Cassatt and Berthe Morisot created works both intimate and intuitive that commented on the female experience in the most nuanced of ways. Twentieth century artist Frida Kahlo produced an iconic body of work that starkly explored her being and physical form as a woman. Contemporary woman artists today from Faith Ringgold to Cindy Sherman continue to explore issues of gender equality and representation. It is clear that woman artists throughout history have made work from distinct feminine points of viewworks that ultimately could not have come from men. With this established, Id like to explore the following question: Are feminine sensibilities and a womans point of view also discernible in architectural works? If female artists have imbued their work with their identities as women by creating art that has commented on the female life experience and challenged societal norms about gender, have female architects approached their work with similar feminine sensibilities and points of views in ways that are clearly observable? An ardent admirer of art as an important manifestation of a societys cultural development, I have long held a regard for architecture as a means in which artistic manipulations of form, line, size, scale, materials, texture, and color are employed to create spaces that serve functional purposes. I believe what has come to distinguish fine art from architecture and other applied arts lies is an element of self-indulgenceartists must not consider the needs of clients as architects must. Furthermore, it is the functional purpose of applied arts and architecture that differentiates those practices from fine art, which rarely sets out to have a functional purpose of its own, but rather, is a manifestation of the artists mastery of technique or personal view on the subject, or both. In this project, I question if, despite these distinctions between art and architecture, the identities of female architects as women have somehow been manifested in their work as it has for so many female artists throughout history in ways that are clearly observable.

December 4, 2012 To begin, a look at modern architectural history provides one striking example of how female perspective has clearly appeared in a landmark piece of architecture. Truus Schrder greatly influenced the radical design of her home, the Rietveld Schrder House, an icon of modernist architecture and the Dutch De Stijl movement. After the death of her husband in 1923, Schrder decided that she wanted to move with her three children out of the traditional Dutch bourgeois house they lived in.2 Years of disagreements with her husband over the raising of their children developed in her definite ideas about how she wanted her familys new house to be arranged. 3 Important to Schrder was a view of the surrounding
Interior of Rietveld Schrder House in Utrecht, Holland

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landscaping and practically throughout the design.4 Additionally, she wanted the houses interior to be as open as possible, a concern rooted in her desire for ideas to flow freely within the space. 5 As directed by Schrder, Gerrit Rietveld designed a small, inexpensive two-story house in Utrecht where the bottom floor was open and flexible in use. 6 Building codes at the time required supporting walls on the first floor in the presence of a second, but Rietveld listed the house as a one-story unit with an attic, avoiding the bureaucratic need for supporting walls on the bottom floor. 7 On the top floor, he designed a system of sliding doors and panels, allowing the space to become any combination between being completely open and being divided into four separate rooms and a hall. 8 This opening up of interiors and innovative use of spatial divisions were radical ideas at the time of the houses construction in 1924.9 Today, the Rietveld Schrder House is regarded as a landmark in modern architecture for its open, innovative interior space as much as for its distinctly geometric, De Stijl exterior. 10 Truus Schrders ideas about open, flexible space that directed Rietvelds innovative approach to the houses design were rooted in her views of early childhood development and modern family life, particularly the importance of open communication throughout the environment in which the family unit lives and interacts in.11 In effect, it was a womens point of view developed because of her own experiences as a mother that largely dictated the pioneering modernist design of the Rietveld Schrder House. While Truuss Schrders influence on the design of her own landmark house is largely unquestionable, there have been numerous females architects who, despite their contributions, have been left undistinguished or outshined by male contemporaries in the annals of modern architectural history. For example, after years of involvement with the Bauhaus, Lilly Reich died in poverty and relative anonymity as longtime collaborator Mie van der Rohe ascended to the status of iconic architect. 12 Architect Eileens Grays house in the south of France, E-1027, has long been considered compromised by the murals painted by another male icon of modernist architecture, Le Corbusier.13 And in 1991, architect Denise Scott Brown went unrecognized as her husband and partner Robert Venturi was given the Pritzker Prize, the architecture

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equivalent of the Noble prize. 14 It is clear that architectural history has not been a place where women have been justly recognized.

Today, a number of female architects have been able to win distinguished commissions, as well as achieve great recognition for their work. The 2010 winner of the Pritzker Prize, Kazuyo Sejima is one of the leading female architects working today. 15 She earned her degree in architecture in 1981 from the Japans Women University and shortly began working in the studio of noted architect Toyo Ito.16 She went on to open her own studio in Tokyo in 1987 and in 1995, formed the design firm SANAA with her former employee Ryue Nishizawa. SANAA has been behind a number of noteworthy and innovative architectural projects around the world, including the Serpentine Pavilion in London, the Christian Dior Building in Tokyos Omotesando, and the New Museum of Contemporary Arts in New York.17 Receiving her Masters in Architecture from Harvard University in 1993, Jeanne Gang is the founder of Studio Gang Architects, a Chicago based architecture firm that has been recognized for its innovation in materials, technologies, and sustainability.18 Jeanne Gangs work has received numerous national and international awards and recognition and is responsible for a diverse range of building projects from community centers to an 82-story Chicago skyscraper, the Aqua.19 And Iraqi born Zaha Hadid was the first woman to win the Pritzker Prize, doing so in 2004.20 A former student at the Association School of Architecture in London, Hadid founded her own firm in 1980. 21 Her distinct and striking designs ranging from museums to opera houses to aquatics centers have earned her numerous awards, recognition, and press, including a 2006 retrospective at the Guggenheim Museum in New York.22

So it is at these contemporary female architects that I would like to refocus my original question onhave these contemporary female architects approached their work with feminine sensibilities and points of view in ways that are clearly observable? In exploring what may be an answer to this question, I will examine various
Architects Kazuyo Sejima, Jeanne Gang, and Zaha Hadid

pieces of critical architectural

literature, namely architecture review pieces from top tier publications. I will look for instances in the writing where the architects female gender is highlighted in a way that is meant to comment or analyze on their design. The reasoning behind this method of examination is if these female architects have indeed approached their work with feminine sensibilities and points of views in ways that are meant to be clearly observable, critical viewers should be able to note the physical manifestation of these feminine sensibilities and points of view in the design and mention them in their writing.

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Ill begin by examining critical reaction to the work of SANAA, Kazuyo Sejimas design firm. One of the firms most noted projects is the New Museum of Contemporary Arts in downtown New York. Opened in November 2007, the museum is conceived as a dramatic set of several aluminum mesh boxes unevenly stacked on top of each other on the Bowery, a main thoroughfare in Downtown New York long known for its gritty character but one thats been succumbing to bourgeois gentrification.23 Nicolai Ouroussoff, architecture critic for the New York Times, described the building in the newspaper as a hypnotic object whose ethereal forms hover somewhere between the legacy of a fading bohemian downtown and the ravenous appetite of a society awash in new money.24 Ouroussoff elaborates on what he means by this dichotomy of identity in the museums design by pointing how, when approached head-on from the trendy neighborhood of SoHo to the west, the buildings shimmering aluminum exterior coupled with its uneven shape give it a strangely, enigmatic glow that evokes both a fading past and a phantom future.25 He continues, saying, as one gets closer to the museum, the skin becomes tougher and more industrial, echoing whats left of the neighborhoods grittier history.26 Furthermore, Ouroussoff notes how the uneven stacking of boxes that make up the museums structure allowed Sejima and her design team to add skylights at the edges of each of these boxes that holds the institutions galleries.27 He comments that coupled with the artificial, fluorescent lighting in each gallery, the skylights give the gallery spaces a lovely warmth that shifts ever so slightly with the weather or time of day.28 Finally, Ouroussoff concludes by remarking its hard to think of another architect whos been able to capture uneasy optimism with such grace.29
The New Museum of Contemporary Art on New York's Bowery

Although Ouroussoff does not explicitly point out any clear traits of the New Museums design that may be considered feminine, nor does he propose that Sejimas gender was in any way reflected in the building, a couple of comments should be noted. First, he described the buildings forms as ethereal.30 The adjective evokes immateriality and a delicate refinement, imagery that could be considered feminine in sensibility. Additionally, Ourousoffs noting of the warmness created by both artificial and natural lighting inside the museum may also indicate a certain feminine essence in the buildings character. With these comments in mind, the New Museum is indeed not a display of cold, brute power perhaps the most blatant way a structure could be described as masculine. Ourousoffs closing remarks where he ponders about which other architect could captureuneasy optimism such grace as Sejima does in the New Museum is interesting in its connecting the architectural success of the building with the designer herself despite its not explicitly pointing to Sejimas being a women as the root of her ability to design what he thought was successful in the building.31

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Turning to the work of Jeanne Gang provides the opportunity to examine contemporary skyscraper design. Gang is the designer of the worlds tallest building designed by a woman, the 82-story Chicago apartment tower known as the Aqua.32 As Pulitzer Prize winning architecture critic Paul Goldberger writes in The New Yorker, the tower is made out of the same tough and robust materials as most other skyscrapers: metal, concrete, and lots of glass.33 But, Gang was able to give the conventionally constructed skyscraper distinct soft, silky lines, like draped fabric. 34 The basic structure of the Aqua is that of a conventional rectangular, glass tower, but what give it the delicate silkiness Goldberger describes are curving, thin concrete balconies at each of the buildings sides.35 These balconies are a slightly different shape on each of the towers floors, turning the Aquas faade into, an undulating landscape of bending, flowing concrete.36 Goldberger then notes how the building appears totally solid and malleable, but its intricate exterior pulses with a gentle rhythm. 37 The uniqueness of the buildings faade was not born out of pure aesthetic regards on Gangs part. The balcony overhangs on each floor shades apartments from the sun, but more ingeniously, they protect the building from the force of Chicago windsthe undulating wave pattern of balconies breaks up winds hitting the structure.38 Winds hitting the building are diverted so much that the Aqua did not require a tuned mass damper, a mass weighing hundreds of tons placed at the top of tall structures to stabilize them against swaying and vibrations caused by high winds.39 Additionally, the designs faade called for balconies on every floor, unusual as apartment buildings above 60 to 70 stories high do not have balconies because of high winds; the Aquas wind-diverting design made such high balconies possible.40 Finally, Goldberger argues that focusing on Aquas being the tallest building designed by a woman leads to predictable interpretations of skyscrapers as symbols of male identity and that Gangs achievement in the building is that her design reclaims the notion that thrilling and beautiful form can still emerge out of the realm of the practical, pointing to the practically and functionality of the Aquas wave-like faade.41 Goldbergers interpretation of Gangs design for the Aqua towers suggests that there are definite feminine sensibilities inherent in the towers design. His description of the glass towers faade as having soft, silky lines, like draped fabric alludes to a certain feminine aesthetic.42 He compliments this by further describing the buildings faade as embodying a
The undulating, wave-like faade of the Aqua tower in Chicago

gentle rhythmmore descriptive imagery that alludes

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fragileness.43 Perhaps Goldbergers most interesting comment was his assertion that dwelling on the Aqua towers being the tallest building designed by a woman would lead to predictable interpretations of skyscrapers as symbols of male identity.44 It is a noteworthy argument because skyscrapers, unquestionably phallic-like structures, are indeed symbols of power, strength, and vitalitytraits so closely connected to notions of masculinity. With this in mind, Gangs dismissal of these characteristics in her design becomes much more striking. The Aqua tower is a conventionally constructed skyscraper in a standard glass-box shape, but it undulating, wave-like faade created by its balconies distracts attention from the buildings size and heightinherent characteristics that would denote power and strength. Instead, as Goldberger describes, the silk-like faade of the Aqua gives the building a certain fragility and gentleness, unusual for a structure of such size. This fragility is something that Gang was ultimately trying to achieve; in Goldbergers review, he quotes the architect. She explained to him that she has a preference of light structures, for things that look light, almost fragile.45 One can thus make a reasonable argument for Gangs Aqua tower possessing clearly discernible feminine characteristics in the apparent fragility of its design and in its rejection of attempting to emphasize its own height and size. Zaha Hadids design for the MAXXI, Romes new National Museum of the 21st Century Arts is another piece of contemporary architecture in which one can look for feminine sensibilities. Opened in 2010, the museum was Romes most anticipated new building in decades.46 The structure is intricately composed of bending oblong shapes that intersect and overlap each other, creating a defined and measured sense of flow and movement from various angles from within the structure and out.47 The presence of huge cantilevers and a high amount of concrete brings to the flowing dynamism of the forms a tangible weight and solidity.48 Nicolai Ouroussoff reviewed the structure for the New York Times and emphatically stated that it jolts [Rome] back to the present like a thunderclap, describing the effect that such a modern structure can have on such an old-World city like the Italian capital.49 Additionally, Ouroussoff states the museums sensual lines seem to draw the energy of the city right up into its belly, further describing the effect that the buildings composition has on its surrounding environment.50 Humorously, Ouroussoff argues that even Bernini, the artist and architect responsible for so many of Romes iconic landmarks, would have appreciated [the museums] curves.51 From the street, the MAXXI does not have any overt design statements and at first glance, looks surprisingly sedate and directly from the south, its forms appear smooth, almost silky.52 Pointing to the way Interior of Rome's National Museum of the 21st Century Arts

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the building entices you into itself as you approach it through narrowing paths, curved walls, and projecting structures overhead, Ouroussoff maintains that the MAXII is distinctly Zaha Hadid. He writes, the idea is to weave her buildings into the network of streets and sidewalks that surrounded theminto the infrastructure that binds us together. But it also a way of making architecture-which is about static objects-more dynamic by capturing the energy of bodies charging through space.53 Inside the museum, this sense of movement is created through a series of pathways and staircases that start at the main lobby and snake and curve off into different directions, inviting the visitor to follow them.54 Finally, Ouroussoff notes how the buildings sense of forward momentum is continued through its lighting system; glass skylights are broken up by long, knifelike metal fins that run the entire length of [rooms].55 Out of the three buildings reviewed, Hadids MAXXI appears to have the least discernable traits that could be described as feminine. While its worth noting the way Ouroussoff describes the lines of the museum as sensual, emphasizes its curves, and describes it as appearing sedate upon first glance, Ouroussoff maintains throughout his writing that what should really be taken from Hadids design is its sense of flowing movement and dynamic character.56 The way the buildings design pulls visitors inside and invites them further into the structure once theyve entered is distinctly Hadid. The buildings sensual, curvaceous, and sedate qualities do allude to imagery closely associated in art to the female body, but these characteristics are merely secondary to the buildings greater sense of kinetic energy, which is described in ways that do not assign it traits pertaining to any one gender. Ultimately, it does not appear as if Hadid expressed any feminine sensibilities in the design of Romes MAXXI.

After looking at three buildings designed by the top female architects working today, it becomes apparent that finding feminine sensibilities in architecture is a complicated matter. Ultimately, these women, like all architects, are working in a triadic relationshipa relationship involving themselves as architects, the needs and goals of the clients theyre designing for, and the audience that will experience the structures they build. Again, unlike fine art, architecture is not a selfindulgent practice in which the creators own sensibilities and points of view can freely be expressed onto a finished piece of work. Architects must process the requests of their clients and the future experiences of future visitors when designing their work; their designs are never purely dictated by their own vision. Furthermore, unlike art, architecture does not have a subject matter whose inclusion or portrayal is evidence of feminine sensibilities and a point of view as it is in fine art. Architecture is also not a medium of creation in which social issues are easily addressed because again, client concerns and viewer experiences are ultimately more paramount in the design process.

When contemporary architecture does demonstrate certain femininity, it seems to be expressed in a way that address concerns that go beyond the female architects desire to address or express her gender in her work. The ethereal forms and warm lighting of the Sejimas New Museum, for example, while alluding to feminine imagery, are respectively ways for the building to fit more comfortably into its changing Bowery environment and for adequate lighting to be present inside. And the undulating waves formed out of concrete balconies that make up the gentle and silk-like

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faade of Gangs Aqua tower and in effect, cause the building to reject notions of the skyscraper as a symbol masculine power and strength, ultimately serve very practical purposesshading from the sun and the diffusion of wind. And the sensual and seemingly sedate forms of Hadids MAXXI, while referencing notions of the female body, are more part of a different and greater design intent that focuses on capturing the visitor and leading them forward into the structure.

I conclude this project with a lot left to explore within the topic of woman and architecture. Moving forward, it would be interesting to research what female architects themselves have to say about the way they approach their work; whether they consciously attempt to inject feminine sensibilities into their projects. If they do, why does it seem like such sensibilities are not easily observed and very explicitly noted by critical viewers like Ouroussouff and Goldberger? And if they dont, why? Do they not find architecture to be the arena in which to express feminine sensiblites? Theres also the pressing matter of the disproportionate amount of women working in architectural design compared to men. Finally, the idea of feminine sensibilities is in itself a problematic oneexactly is feminine?

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Endnotes
1

OKeefe as I see her, Frieze Magazine, n.d, http://www.frieze.com/issue/article/okeefe_as_i_see_her/ (accessed November 24, 2012).
2

Joyce Volk, Rietvelds Little House Looms Large, New York Times, August 6, 1989, http://www.nytimes.com/1989/08/06/travel/rietveld-s-little-house-looms-large.html?pagewanted=all&src=pm (accessed November 24, 2012).
3

Joyce Volk, Rietvelds Little House Looms Large, New York Times, August 6, 1989, http://www.nytimes.com/1989/08/06/travel/rietveld-s-little-house-looms-large.html?pagewanted=all&src=pm (accessed November 24, 2012).
4

Isabel Kuhl, Kristins Lowis, and Sabine Thiel-Siling, 50 Architects You Should Know (New York: Prestel, 2008), 75.
5

Alice Friedman. Women and the Making of the Modern House (New York: Harry N. Abrams, Inc., 1998), 78.
6

Joyce Volk, Rietvelds Little House Looms Large, New York Times, August 6, 1989, http://www.nytimes.com/1989/08/06/travel/rietveld-s-little-house-looms-large.html?pagewanted=all&src=pm (accessed November 24, 2012).
7

Joyce Volk, Rietvelds Little House Looms Large, New York Times, August 6, 1989, http://www.nytimes.com/1989/08/06/travel/rietveld-s-little-house-looms-large.html?pagewanted=all&src=pm (accessed November 24, 2012).
8

Joyce Volk, Rietvelds Little House Looms Large, New York Times, August 6, 1989, http://www.nytimes.com/1989/08/06/travel/rietveld-s-little-house-looms-large.html?pagewanted=all&src=pm (accessed November 24, 2012).
9

Joyce Volk, Rietvelds Little House Looms Large, New York Times, August 6, 1989, http://www.nytimes.com/1989/08/06/travel/rietveld-s-little-house-looms-large.html?pagewanted=all&src=pm (accessed November 24, 2012).
10

Joyce Volk, Rietvelds Little House Looms Large, New York Times, August 6, 1989, http://www.nytimes.com/1989/08/06/travel/rietveld-s-little-house-looms-large.html?pagewanted=all&src=pm (accessed November 24, 2012).

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10

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Alice Friedman. Women and the Making of the Modern House (New York: Harry N. Abrams, Inc., 1998), 79.
11

Nicolai Ouroussoff, Keeping Houses, Not Building Them, New York Times, October 31, 2007, http://www.nytimes.com/2007/10/31/arts/design/31woma.html (accessed November 24, 2012).

13

Nicolai Ouroussoff, Keeping Houses, Not Building Them, New York Times, October 31, 2007, http://www.nytimes.com/2007/10/31/arts/design/31woma.html (accessed November 24, 2012).
14

Nicolai Ouroussoff, Keeping Houses, Not Building Them, New York Times, October 31, 2007, http://www.nytimes.com/2007/10/31/arts/design/31woma.html (accessed November 24, 2012).
15

Bob Borson, Women in Architecture, Life of An Architect (2011), http://www.lifeofanarchitect.com/women-in-architecture/ (accessed November 24, 2012).
16

Bob Borson, Women in Architecture, Life of An Architect (2011), http://www.lifeofanarchitect.com/women-in-architecture/ (accessed November 24, 2012).
17

Bob Borson, Women in Architecture, Life of An Architect (2011), http://www.lifeofanarchitect.com/women-in-architecture/ (accessed November 24, 2012).
18

Bob Borson, Women in Architecture, Life of An Architect (2011), http://www.lifeofanarchitect.com/women-in-architecture/ (accessed November 24, 2012).
19

Bob Borson, Women in Architecture, Life of An Architect (2011), http://www.lifeofanarchitect.com/women-in-architecture/ (accessed November 24, 2012).
20

Bob Borson, Women in Architecture, Life of An Architect (2011), http://www.lifeofanarchitect.com/women-in-architecture/ (accessed November 24, 2012).
21

Isabel Kuhl, Kristins Lowis, and Sabine Thiel-Siling, 50 Architects You Should Know (New York: Prestel, 2008), 159.
22

Isabel Kuhl, Kristins Lowis, and Sabine Thiel-Siling, 50 Architects You Should Know (New York: Prestel, 2008), 159.

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23

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Nicolai Ouroussoff, New Look for the New Museum, New York Times, November 30, 2007, http://www.nytimes.com/2007/11/30/arts/design/30newb.html?pagewanted=all&_r=0 (accessed November 24, 2012).
24

Nicolai Ouroussoff, New Look for the New Museum, New York Times, November 30, 2007, http://www.nytimes.com/2007/11/30/arts/design/30newb.html?pagewanted=all&_r=0 (accessed November 24, 2012).
25

Nicolai Ouroussoff, New Look for the New Museum, New York Times, November 30, 2007, http://www.nytimes.com/2007/11/30/arts/design/30newb.html?pagewanted=all&_r=0 (accessed November 24, 2012).
26

Nicolai Ouroussoff, New Look for the New Museum, New York Times, November 30, 2007, http://www.nytimes.com/2007/11/30/arts/design/30newb.html?pagewanted=all&_r=0 (accessed November 24, 2012).
27

Nicolai Ouroussoff, New Look for the New Museum, New York Times, November 30, 2007, http://www.nytimes.com/2007/11/30/arts/design/30newb.html?pagewanted=all&_r=0 (accessed November 24, 2012).
28

Nicolai Ouroussoff, New Look for the New Museum, New York Times, November 30, 2007, http://www.nytimes.com/2007/11/30/arts/design/30newb.html?pagewanted=all&_r=0 (accessed November 24, 2012).
29

Nicolai Ouroussoff, New Look for the New Museum, New York Times, November 30, 2007, http://www.nytimes.com/2007/11/30/arts/design/30newb.html?pagewanted=all&_r=0 (accessed November 24, 2012).
30

Nicolai Ouroussoff, New Look for the New Museum, New York Times, November 30, 2007, http://www.nytimes.com/2007/11/30/arts/design/30newb.html?pagewanted=all&_r=0 (accessed November 24, 2012).
31

Nicolai Ouroussoff, New Look for the New Museum, New York Times, November 30, 2007, http://www.nytimes.com/2007/11/30/arts/design/30newb.html?pagewanted=all&_r=0 (accessed November 24, 2012).
32

Paul Goldberger, Wave Effect, The New Yorker, February 1, 2010, http://www.newyorker.com/arts/critics/skyline/2010/02/01/100201crsk_skyline_goldberger (accessed November 24, 2012).

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Paul Goldberger, Wave Effect, The New Yorker, February 1, 2010, http://www.newyorker.com/arts/critics/skyline/2010/02/01/100201crsk_skyline_goldberger (accessed November 24, 2012).
34

Paul Goldberger, Wave Effect, The New Yorker, February 1, 2010, http://www.newyorker.com/arts/critics/skyline/2010/02/01/100201crsk_skyline_goldberger (accessed November 24, 2012).
35

Paul Goldberger, Wave Effect, The New Yorker, February 1, 2010, http://www.newyorker.com/arts/critics/skyline/2010/02/01/100201crsk_skyline_goldberger (accessed November 24, 2012).
36

Paul Goldberger, Wave Effect, The New Yorker, February 1, 2010, http://www.newyorker.com/arts/critics/skyline/2010/02/01/100201crsk_skyline_goldberger (accessed November 24, 2012).
37

Paul Goldberger, Wave Effect, The New Yorker, February 1, 2010, http://www.newyorker.com/arts/critics/skyline/2010/02/01/100201crsk_skyline_goldberger (accessed November 24, 2012).
38

Paul Goldberger, Wave Effect, The New Yorker, February 1, 2010, http://www.newyorker.com/arts/critics/skyline/2010/02/01/100201crsk_skyline_goldberger (accessed November 24, 2012).
39

Paul Goldberger, Wave Effect, The New Yorker, February 1, 2010, http://www.newyorker.com/arts/critics/skyline/2010/02/01/100201crsk_skyline_goldberger (accessed November 24, 2012).
40

Paul Goldberger, Wave Effect, The New Yorker, February 1, 2010, http://www.newyorker.com/arts/critics/skyline/2010/02/01/100201crsk_skyline_goldberger (accessed November 24, 2012).
41

Paul Goldberger, Wave Effect, The New Yorker, February 1, 2010, http://www.newyorker.com/arts/critics/skyline/2010/02/01/100201crsk_skyline_goldberger (accessed November 24, 2012).
42

Paul Goldberger, Wave Effect, The New Yorker, February 1, 2010, http://www.newyorker.com/arts/critics/skyline/2010/02/01/100201crsk_skyline_goldberger (accessed November 24, 2012).

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Paul Goldberger, Wave Effect, The New Yorker, February 1, 2010, http://www.newyorker.com/arts/critics/skyline/2010/02/01/100201crsk_skyline_goldberger (accessed November 24, 2012).
44

Paul Goldberger, Wave Effect, The New Yorker, February 1, 2010, http://www.newyorker.com/arts/critics/skyline/2010/02/01/100201crsk_skyline_goldberger (accessed November 24, 2012).
45

Paul Goldberger, Wave Effect, The New Yorker, February 1, 2010, http://www.newyorker.com/arts/critics/skyline/2010/02/01/100201crsk_skyline_goldberger (accessed November 24, 2012).
46

Nicolai Ouroussoff, Modern Lines for the Eternal City, New York Times, November 12, 2009, http://www.nytimes.com/2009/11/12/arts/design/12zaha.html (accessed November 27, 2012).
47

Rowan Moore, Zaha Hadids new Roman gallery joins the pantheon of greats, The Guardian, June 5, 2010, http://www.guardian.co.uk/artanddesign/2010/jun/06/maxxi-rome-zaha-hadid (accessed November 27, 2012).
48

Rowan Moore, Zaha Hadids new Roman gallery joins the pantheon of greats, The Guardian, June 5, 2010, http://www.guardian.co.uk/artanddesign/2010/jun/06/maxxi-rome-zaha-hadid (accessed November 27, 2012).
49

Nicolai Ouroussoff, Modern Lines for the Eternal City, New York Times, November 12, 2009, http://www.nytimes.com/2009/11/12/arts/design/12zaha.html (accessed November 27, 2012).
50

Nicolai Ouroussoff, Modern Lines for the Eternal City, New York Times, November 12, 2009, http://www.nytimes.com/2009/11/12/arts/design/12zaha.html (accessed November 27, 2012).
51

Nicolai Ouroussoff, Modern Lines for the Eternal City, New York Times, November 12, 2009, http://www.nytimes.com/2009/11/12/arts/design/12zaha.html (accessed November 27, 2012).
52

Nicolai Ouroussoff, Modern Lines for the Eternal City, New York Times, November 12, 2009, http://www.nytimes.com/2009/11/12/arts/design/12zaha.html (accessed November 27, 2012).
53

Nicolai Ouroussoff, Modern Lines for the Eternal City, New York Times, November 12, 2009, http://www.nytimes.com/2009/11/12/arts/design/12zaha.html (accessed November 27, 2012).
54

Nicolai Ouroussoff, Modern Lines for the Eternal City, New York Times, November 12, 2009, http://www.nytimes.com/2009/11/12/arts/design/12zaha.html (accessed November 27, 2012).

December 4, 2012

Hincapie 14

55

Nicolai Ouroussoff, Modern Lines for the Eternal City, New York Times, November 12, 2009, http://www.nytimes.com/2009/11/12/arts/design/12zaha.html (accessed November 27, 2012).
56

Nicolai Ouroussoff, Modern Lines for the Eternal City, New York Times, November 12, 2009, http://www.nytimes.com/2009/11/12/arts/design/12zaha.html (accessed November 27, 2012).

December 4, 2012

Hincapie 15

Bibliography Borson, Bob. Women in Architecture, Life of An Architect. http://www.lifeofanarchitect.com/women-inarchitecture/

Friedman, Alice. Women and the Making of the Modern House. New York: Harry N. Abrams, Inc., 1998. Goldberger, Paul. Wave Effect. The New Yorker, February 1, 2010, http://www.newyorker.com/arts/critics/skyline/2010/02/01/100201crsk_skyline_goldberger

Hadid, Zaha. Zaha Hadid. New York: Guggenheim Museum Publications, 2006

Hiesinger, Kathryn B., Zaha Hadid, and Patrik Schumacher. Zaha Hadid: Form in Motion. Philadelphia: Philadelphia Museum of Art, 2011.

Jodidio, Philip. Architecture: Art. Munich: Prestel, 2005.

Kulk, Isabel, Kristins Lowis, and Sabine Thiel-Siling. 50 Architects You Should Know. New York: Prestle, 2008. Moore, Rowan. Zaha Hadids new Roman gallery joins the pantheon of greats. The Guardian, June 5, 2010, http://www.guardian.co.uk/artanddesign/2010/jun/06/maxxi-rome-zaha-hadid OKeefe as I see her, Frieze Magazine, n.d. http://www.frieze.com/issue/article/okeefe_as_i_see_her/ Ouroussoff, Nicolai. Keeping Houses, Not Building Them. New York Times, October 31, 2007, http://www.nytimes.com/2007/10/31/arts/design/31woma.html Ouroussoff, Nicolai. Modern Lines for the Eternal City. New York Times, November 12, 2009, http://www.nytimes.com/2009/11/12/arts/design/12zaha.html Ouroussoff, Nicolai. New Look for the New Museum. New York Times, November 30, 2007, http://www.nytimes.com/2007/11/30/arts/design/30newb.html?pagewanted=all&_r=0

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Volk, Joyce. Rietvelds Little House Looms Large. New York Times, August 6, 1989. http://www.nytimes.com/1989/08/06/travel/rietveld-s-little-house-looms-large.html?pagewanted=all&src=pm