Architecture and Feminism by Elizabeth Danze, Debra Coleman

By Elizabeth Danze, Debra Coleman

Over the past a number of many years, feminists and designers have independently built opinions of recent Western assumptions and cultural practices. Architecture and Feminism addresses the intersection of those likely disparate fields via a full of life and numerous selection of essays and tasks, together with interdisciplinary investigations of literature, social background, domestic economics, and paintings history.

Articles learn such assorted issues as Niki de Saint-Phalles exuberant building-sized lady sculpture Hon, the aesthetics and politics of the Playboy bachelor pad, Edith Wharton's principles on household structure, and the Legend of grasp Manole, a disquieting japanese ecu folktale that prescribes the ritual entombment of ladies within the partitions of constructions, whereas visible initiatives take recognized constructions through Philip Johnson and Louis Sullivan as issues of departure for a feminist studying of architectural background. instead of proposing a unmarried, didactic place, this assortment bargains various clean voices to explain the cross-connections and shared matters among structure and feminism.

Contributors to Architecture and Feminism contain Manuela Antoniu, Vanessa Chase, Deborah Fausch, Molly Hankwitz, Susan R. Henderson, Amy Landesberg, Lisa Quatrale, Christine S. E. Magar, Mary McLeod, and George Wagner.

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Recently, postcolonial critics such as Homi Bhabha and Gayatri Spivak have challenged the manichaeism or binary logic implicit in Fanon's and Said's understanding of colonial identity. See especially Homi K. Bhabha's essay "The Other Question: Stereotype, Discrimination and the Discourse of Colonialism," in Tlze Location of Culture (London and New York: Routledge, 1994) for a critique of phenomenology's opposition between subject and object-and its extension into the discourse of colonialism as a rigid division between colonizer and colonized.

128. 40. Constant's full name was Constant Nieuwenhuys. In 195:3 he collaborated with Dutch architect Aldo Van Eyck on a color-space installation. The most complete account of Constant, including a 35 36 EVERYDAY AND "OTHER" SPACES selection of his writings, is Jean-Clarence Lambert, Consla11l: Les Trois &paces (Paris: Editions Cercle d'Art, 1992). Despite the obvious influence of Constant's work on Tschumi and other socalled deconstructivists, the Situationists are not mentioned in the Museum of Modem Art's catalogue Deconstructivist Architecture.

41 Yet, their program presents other difficulties. Although Constant's utopian scheme New Babylon (FIG. 14), dedicated to a postrevolutionary society of play, proposes a communal and festive MARY McLEOD FIG. 14 Constant, Yellow Sector, New Babylon, 1958 use of space, it also carries peculiarly behavioralist connotations in its attempt to manufacture emotions. 42 What he calls the yellow sector shelters a complete zone of play, including labyrinthine houses for endless adventure; and there is also a deaf room, a screaming room, an echo room, a room of reflection, a room of rest, and a room of erotic play.

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Categories: Feminist Theory