"Does architecture have a Harvey Weinstein hiding within its ranks?"
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Architecture has a culture of quietly condoning sexist behaviour, just like Hollywood, argues Anna Winston.
"To be dangerous is to be artistically daring". In all the comment pieces I have read so far on the Harvey Weinstein scandal, this, from British playwright Lucy Prebble's piece in the London Review of Books, stood out. This was the piece that came closest to pinning down what it was about this whole debacle that made me feel both relieved and angry.
If you're a woman working in architecture, you might not be so surprised to hear that it reminded me of your industry – an industry I have been writing about for more than 10 years.
Prebble's comment hit home because it reflected a common trope in architecture – the eccentric but brilliant man who is allowed, even encouraged, to behave badly and is thus tacitly allowed to treat other people like things.
Architecture, like Hollywood, has a culture of quietly condoning and facilitating gender-related power games and sexually inappropriate behaviour from men while publicly wringing its hands about equality. I have been directly affected by this, and I'm not even an architect. Even architecture journalism is infected with this disease of silent acceptance.
Does architecture have a Harvey Weinstein hiding somewhere within its ranks? The simple answer is, probably, yes. But wherever he is, he is being enabled by a much wider problem, and one that the seemingly endless debate about women in architecture – with its worthy awards programmes and debates – has sadly had too little effect on.
Prebble's text contains more than just the one parallel. "Today's monster is yesterday's 'character'…" it reads. "Hollywood is run on charm as well as tantrums. There are elements of machismo that are glorified as an eccentricity of showbiz power. The flare-ups of big producers and agents are legendary… Ex-assistants will exchange war stories with the relish and nostalgia often reserved for remembering a classic Broadway production."
This too: "In the arts, professionalism can be interpreted as a sort of inauthenticity, and those who can't control themselves are seen as more 'instinctive'." Now doesn't that sound familiar?
It's not always easy to put your finger on why something made you uncomfortable
Weinstein was enabled by an industry caught up in a sticky and insidious web of power and control. Architecture is not the same as the film industry. But when pundits scratch their heads about the disparity between the number of women who study architecture and the number of women who actually end up working in senior positions within the industry, it's hard not to want to bang your head against a brick wall.
How is it that so many people can't see that the problem is not women deciding to have children? It is not the long hours, or the bad pay. It is the power structure. It is the condoning of otherwise unacceptable behaviour in the name of genius or talent. It is, in the words of actress Emma Thompson "a system of harassment and belittling and bullying and interference".
To give you some idea of the scale of this problem, more than half of the women who took the 2017 Women in Architecture Survey said they had experienced direct or indirect discrimination in the past year. Of those, 14 per cent experienced sexual harassment, while 32 per cent reported sexual discrimination. One architectural assistant was even told "women do not belong in architecture as they bring too much emotion to the subject".
The findings included incidents where women had been expected to flirt with clients, been ignored and talked over, and been expected to prepare food and drink when male colleagues were not.
A survey carried out last year in New Zealand found that women accounted for only one per cent of senior roles in architectural practices. Architecture schools in the country have had more than 50 per cent female students since 2000. It takes a long time to qualify and even longer to make it to the top in architecture, but this incredible disparity can't be accounted for by time alone.
The stats vary, but they tell variations of the same story. In 2013, 44 per cent of architecture students in the UK were female, while just 12 per cent of partners in practice were women. In the US last year it was more like 50 per cent of students and 18 per cent of registered, practicing architects.
All of these stats are easy to find, thanks to a small handful of women who pushed for the data to be gathered and disseminated. You don't really need the stats though. A quick glance around the industry will quickly demonstrate that in architecture, women are still largely the facilitators, while men are the feted geniuses.
This has been changing slowly, and there are an increasing number of female-led practices, but it will take more than a handful of visionary women to change the culture of the profession.
It will take more than a handful of visionary women to change the culture of the profession
The Architecture Foundation – one of the rare examples of an organisation that actively promotes equality through its programming instead of just talking about it – still struggles to sell tickets to lectures by female architects in the same volume as it does for lectures by men of equal professional standing.
For more of what we're up against, read some of the comments on stories about inequality in architecture on Dezeen – and bear in mind that the worst sexist comments don't even get published, thanks to the poor moderators who have to read them.
Or attend one of the international festivals or exhibitions where men regularly put their colleagues into uncomfortable positions by pursuing younger, less powerful women within the same field in plain view.
Or remember that Zaha Hadid is still the only female to have won both the Pritzkerand the RIBA Gold Medal in her own right. Or that she was often described in disparaging terms for behaviour that, in men, generally becomes part of their genius mythos.
There is a pattern that recurs across architecture. Women handle the promotion, organisation and dissemination of the work and ideas, creating space and platform for the men to do the actual architecture – or at least to take credit for it. It is no coincidence that most of the biggest and best-known architecture firms are led by men, but the most successful architectural PRs and specialist PR practices are led by women.
"I think the design world's Harvey Weinsteins are a special breed of horrific and especially prey on the intellectual labour of women," one architect told me.
I don't think many women in architecture and its related fields would ask for positive discrimination
It doesn't just affect women either. The culture of bullying and belittling affects people of all genders, colours and backgrounds.
Many of the powerful men in architecture are wonderful to work for and with – capable of engaging in fiery debate, and pushing us to do better without making it a power play and without bringing sex into the dynamic in any way. But most of us know the stories about those who might be described as more "problematic". You are warned about them before accepting jobs or commissions. You go in knowing that you need to focus on the positive effect the association will have on your careers long-term and grit your teeth to get through a few months or years. Your livelihoods hang in the balance if you say anything. Architecture is a small world – much smaller than Hollywood.
It's not always easy to put your finger on why something made you uncomfortable, to pinpoint exactly when you realised that something was awry, to explain why you left that job or didn't go to that event. It isn't an easy thing to publicly identify specific examples and talk about solving this problem.
In a recent Facebook thread relating the Harvey Weinstein, a Seattle-based curator, writer and educator – who studied architecture at Yale – wrote: "In architecture, art, academia, they are too genteel for anger. Instead we'll get frozen out and gaslit with the implication that the confrontation is evidence of our lack of analysis and intellectualism."
Women have their own secret language of warning and sympathy when it comes to handling unwanted sexual attention. There is the quiet suggestion to watch out for wandering hands and bat away inappropriate comments. The sympathetic glance when the inappropriate hug from that older male architect goes on a bit too long at a social event. The gossip about the womanisers and the late night sharing of knowledge over drinks on the rare occasions when there are no men around. The quiet support for women who have held on and made it through despite everything. Some might argue that these quiet support systems are part of the problem. But for most of us, it's the only coping mechanism available, and the pressure shouldn't be on us to name and shame.
This pervasive problem is all over the design industry too. Perhaps it seems more pronounced in architecture, as the role of the architect carries more historic baggage and more anxiety about its relevance and power today. Perhaps it is because being a "character" was, for a long time, the best way to get a building through all the hoops from inception to opening without compromising on absolutely everything, and it just became a habit. Perhaps it's that seven years of education produces a sense of entitlement, swiftly followed by disillusionment and an endless angst. Perhaps it is because it is to do with the way practices are structured, how much work you need to do before you get paid, and how hard it is to go it alone. Or perhaps it is because it is so closely in contact with the development and property industries, where the sexism is both rampant and often far more blatant. Perhaps I just know more architects. Ultimately, it doesn't matter why the problem is there. What matters is that it stops.
Let us do our job without all the gender-based power games
I don't think many women in architecture and its related fields would ask for positive discrimination. And they don't necessarily want to be labelled as "women architects" or "female architects", or even "female architecture journalists" or "female critics". Some women in architecture have pointed out that this kind of language can be useful in recognising and focusing on the achievements of women who would otherwise be neglected. But you could easily argue it also normalises the idea that men are more entitled to be architects because they don't need to qualify their job title with an extra word.
"I am not a female architect. I am an architect," argued Danish architect Dorte Mandrup in a piece published by Dezeen. "When we talk about gender, we tend to talk about women. Men do not really have a gender. They are just... neutral. Non-gender. That is why you do not recognise the term 'male architect'."
We are not asking to be the female equivalent of anything. We are just asking to be architects, designers, journalists, critics, consultants, directors, partners, professionals, without having to be wary or to make ourselves small, without being overlooked or having to be a "bitch" and "difficult" to be heard. Let us do our job without all the gender-based power games, pay us fairly for it, and I promise you that the entire industry will benefit.
In the process of writing this piece, I spoke to a number of people who shared their experiences of abuse, assault, harassment, discrimination, gas-lighting, predatory and manipulative behaviour and more. Some of them have given very specific examples and have named names. They include some of the most famous architects in the world, as well as rising stars in respected practices, curators, heads of schools, tutors, colleagues and friends. They are not easy to talk about or read. This is a problem in every kind of practice and at every level. Anyone that would like to share their own experiences is welcome to contact me.
What is the best Canadian city for a woman? Toronto is ranked 10th
Click here to view the Toronto Star
A new study suggests Victoria is the best city in Canada to be a woman, despite the wage gap between men and women there worsening slightly in recent years.
The study by the Canadian Centre for Policy Alternatives looks at differences between men’s and women’s access to economic and personal security, education, health and positions of leadership in Canada’s 25 biggest cities.
The CCPA says Victoria is the only city on the list where more women than men are employed, and they account for nearly half of all senior managers and elected officials.
But it says the wage gap in the city is on par with the rest of the country, with women earning 73 per cent of what men do — slightly worse than five years ago.
In Windsor, Ont., which ranked worst in the study, the wage gap is actually smaller than average, with women making about 75 per cent of what men earn.
But the study says only 23 per cent of elected officials and 34 per cent of senior managers in the region are women, and women are more likely to be living below the poverty line than men.
The CCPA also says that sexual assault is the only violent crime that’s not on the decline in Canada, and every city still struggles with high rates of sexual and domestic violence.
“Statistics will never be a substitute for the full experience of lives lived. But as signposts they mark the spot where more attention is needed from our political leaders and policy-makers,” says study author Kate McInturff, a senior researcher at CCPA. “We hope they follow through.”
Here is the CCPA’s ranking of the cities it studied:
1. Victoria
2. Gatineau
3. Hamilton
4. Kingston
5. Vancouver
6. Quebec City
7. St. John’s
8. Sherbrooke
9. Halifax
10. Toronto
11. Ottawa
12. London
13. Kelowna
14. Abbotsford-Mission
15. Montreal
16. St. Catharines-Niagara
17. Winnipeg
18. Edmonton
19. Saskatoon
20. Kitchener-Cambridge-Waterloo
21. Regina
22. Calgary
23. Barrie
24. Oshawa
25. Windsor
Click here to view the Toronto Star
A new study suggests Victoria is the best city in Canada to be a woman, despite the wage gap between men and women there worsening slightly in recent years.
The study by the Canadian Centre for Policy Alternatives looks at differences between men’s and women’s access to economic and personal security, education, health and positions of leadership in Canada’s 25 biggest cities.
The CCPA says Victoria is the only city on the list where more women than men are employed, and they account for nearly half of all senior managers and elected officials.
But it says the wage gap in the city is on par with the rest of the country, with women earning 73 per cent of what men do — slightly worse than five years ago.
In Windsor, Ont., which ranked worst in the study, the wage gap is actually smaller than average, with women making about 75 per cent of what men earn.
But the study says only 23 per cent of elected officials and 34 per cent of senior managers in the region are women, and women are more likely to be living below the poverty line than men.
The CCPA also says that sexual assault is the only violent crime that’s not on the decline in Canada, and every city still struggles with high rates of sexual and domestic violence.
“Statistics will never be a substitute for the full experience of lives lived. But as signposts they mark the spot where more attention is needed from our political leaders and policy-makers,” says study author Kate McInturff, a senior researcher at CCPA. “We hope they follow through.”
Here is the CCPA’s ranking of the cities it studied:
Victoria
Gatineau
Hamilton
Kingston
Vancouver
Quebec City
St. John’s
Sherbrooke
Halifax
Toronto
Ottawa
London
Kelowna
Abbotsford-Mission
Montreal
St. Catharines-Niagara
Winnipeg
Edmonton
Saskatoon
Kitchener-Cambridge-Waterloo
Regina
Calgary
Barrie
Oshawa
Windsor
Female Perspectives on Design, and What We Lose Without It
We asked 10 leading practitioners what society as a whole has missed out on due to women not having equality in the architectural profession.
If you haven’t seen or read it yet, the October issue of Azure features an in-depth article on gender inequality in architecture. Written by Montreal journalist Linda Besner, the story outlines how a profession that prides itself on innovation has failed to overcome the glass ceiling syndrome when it comes to female architects. The statistics are as stark as the anecdotes. Many women in the profession report pay inequality and that they’ve been routinely overlooked for promotions, while statistical data backs up the fact that gender discrimination remains alive and well. In Canada, Besner writes, only 29 per cent of practicing architects are female. The numbers are even lower in the U.K. (26 per cent) and in the U.S. (24 per cent).
So, what has been lost in this imbalance? What does design lose when female architects and their perspectives are not an integral part of our built reality? We posed this question to 10 leading architects who understand first-hand the particular challenges women face. Here’s what they told us.
“The world loses lateral thinking, which relates to our ability to make creative connections between things that might be assumed to be discrete. We need to think more about how things are—or could be—imagined relationally in the world. This includes the ability to imagine technology, nature and the built environment as integral parts of a singular spatial system, what we have called ‘soft’ design.”
— Sheila Kennedy, Professor of Architecture at MIT, Director of Design & Applied Research at MATx, and principal of Kennedy & Violich Architecture, Ltd.
Mette Kynne Frandsen of Henning Larsen Architects
“Women excel at designing to a human scale and have incredible artistic sensibilities. Their influence secures a holistic approach to architecture, and, in our experience, often refrain from getting lost in technical solutions and details. Architecture must create connectivity between people, and women are important in shaping and developing these designs.”
— Frida Ferdinand & Mette Kynne Frandsen, Henning Larsen Architects, Copenhagen
"Research shows that innovation occurs when there is a nearly equal team of men and women. It’s also been found that companies with more women in executive positions achieve better financial performance. We are designing and problem solving for a very diverse set of people, needs, desires and values—the people at the helm had better be able to approach these challenges with an equally diverse set of ways of seeing the world.”
— Monica Adair, co-founding partner of Acre Architects, St. John, New Brunswick, RAIC 2015 Young Architect Award recipient
“I have been thinking about this question a lot… in the end, in this day and culture I reject the notion that, as a rule, women’s designs can be picked out from a line of buildings. To me they cannot—great architecture is great architecture. Women are equally capable of producing potent and powerful architecture as men are. And I am not able to pinpoint any specific characteristics that I could assign to a female architect alone. What would these more feminine characteristics be? The typical labels such as ‘soft’ and ‘more inviting’?”
— Johanna Hurme, founding principal of 5468796 Architecture, Winnipeg, Canada
“We are already suffering the design and construction of cities by the eye of a “perfect” 1.80-metre handsome male, with all his capabilities in excellent health; with a perfect wife that gets secluded from the world till their children are old enough to be “suitable” for being in society … It is not just the influence or perspective of a female point of view, but the lack of any other ‘minority’ group eye. That is why today we need to ‘heal’ our cities with accessible policies. We need to start designing our cities, not just from a male or female perspective.”
– Gabriela Carrillo, principal of Taller de Arquitectura-Mauricio Rocha + Gabriela Carrillo, Mexico City, and 2017
“I will answer your question with a statement by my husband Massimiliano Fuksas: “Doriana sees, and sees with an incredible speed if something works or not. The feminine qualities are: an unimaginable strength, a lot of courage, extensive determination, more than men have”. I totally agree with him because, in my experience, this criteria is applicable when working on small projects because when you work on a small project you see the interior base and form and you can have a global check on material details and the project becomes like a jewel, and so, if there is something that does not work, it is more evident and so you have to check and control every small piece. Therefore, attention to detail, for sure, is typical of women.”
– Doriana Fuksas, principal at Studio Fuksas, Rome, Italy
“Each building is designed by the priorities placed onto the project by the client, the jurisdiction, the site and by the architects’ vision and experience. As architects, we are trained to understand and contemplate a variety of often incompatible views—it is our work to find balance in those views. This is a question of philosophy, not gender. The same thing that is lost when any other influences or perspectives are not integrated into our built reality: a segregationist, generalized urban environment that fails to reflect our shared humanity.
— Marianne Amodio, founding principal of MAAStudio, Vancouver, Canada
SO-IL installation, Blueprint, at Storefront for Art and Architecture, New York
“Since women make up half of the population, half of what it should be and half of what it could be is lost when women are not an integral part of the process. The narrative, aesthetics and professional structure of architecture have been built up over centuries almost exclusively by men, so for women to be part of the conversation, it takes many of us to write, build and interpret – to make contribution to the discipline as well as the build-environment. We have come a long way in the past 50 years to gain access to the field, but there is still a long way to go.”
– Jing Liu, founding principal of SO-IL, New York
“I don’t think you can generalize about a male or female perspective. But I do think that multiple perspectives, personalities and cultural viewpoints only enrich the design process and the built environment. As a young female architect, it is extremely important to have female influencers we can look up to.”
— Jodi Batay-Csorba, founding principal of Batay-Csorba Architects, Toronto, Canada
“It is difficult to separate out nature from nurture, and there is a broad spectrum of personality across male and female individuals. Even if a “female perspective” could be defined, it would morph and change as our culture changes and becomes more equitable, which has been the slow trajectory since the first wave of feminism in the mid-19th century. Multiple studies show that diverse teams are successful because they are more likely to constantly reexamine facts and remain objective. They also encourage greater scrutiny of each member’s actions, and are less likely to accept things on face value; they process information more carefully and critically. As an added bonus, they have also been shown to be more innovative, because people are forced outside their comfort zones in considering solutions.”
– Joan Blumenfeld, principal at Perkins + Will, New York
“Jane Jacobs said it the best: ‘Cities have the capability of providing something for everybody, only because, and only when, they are created by everybody.’ When female influences and perspectives are not part of the design of our built reality, we lose out on making our workplaces, homes and cities places where women can thrive and be equal citizens.”
— Joy Charbonneau, artist, designer and architect at KPMB, Toronto, Canada
Inclusive design
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For many people, design is expensive, elitist and excessive – the layering on of unnecessary, strictly luxurious features that fancy-up otherwise basic objects. It's the difference between a Faberge egg and a Kinder Surprise – maybe nice, surely pretty, but undeniably extravagant.
Design museums, fairs and expos, therefore, offer little of interest to many people. As institutions, they merely collect and showcase esoteric objects and are usually only frequented by design professionals and diehard fans.
To disrupt this tendency, Toronto's Design Exchange (DX) museum is launching EDIT (Expo for Design, Innovation & Technology), a 10-day festival running from Sept. 28 to Oct. 8. Under the wildly optimistic theme of Prosperity for All, and with a diverse lineup of speakers, curators and thinkers (including doctors, economists, urban planners and musicians), it eschews the aesthetic to instead celebrate what design can do to solve the most pressing problems of our times and improve our lives – all our lives.
EDIT was conceived by Shauna Levy, president and chief executive officer of the DX, and is part of her mandate to make design accessible to a broad, general audience. When she took over the leadership of the institution five years ago (after running Toronto's bustling Interior Design Show for 15 years), she immediately replaced the arcane with the populist. The first show she built from the ground up was This is Not a Toy, which focused on urban art and was co-curated with music icon Pharrell Williams (wearer of outrageous hats and writer of infectious pop hits such as Happy).
Although the show drew crowds, it also taught her an important lesson. "We received many calls and e-mails from young adults asking us what the dress code was, simply because they had never been to a museum before," Levy says. "Too many cultural institutions are just simply not speaking to a large part of our population."
Hence EDIT, which focuses on design's ability to help solve the biggest challenges of our time. "Beauty is important," Levy says. "But there's also some heavy lifting that design can be doing."
To give EXPO a serious sense of purpose, Levy has partnered with the United Nations Development Programme, whose 17 Sustainable Development Goals form the backbone of the show. "The ultimate objective of the goals – which include zero hunger and quality education – is to eradicate global poverty and climate change by 2030," Levy says. "I see the goals as design challenges."
And instead of a rarified gallery space (the Design Exchange's home is Toronto's financial district, in the city's former stock exchange), Levy chose the kind of site that wouldn't carry any preconceived baggage about who belongs and who doesn't: East Harbour, a disused Unilever soap factory on the edge of a major highway, the Don Valley Parkway. She hopes that visitors find the raw, unpretentious setting – with its backdrop of old industrial equipment and exposed duct work – "welcoming and an experience in and of itself."
With a something-for-everyone approach (including activities just for children), the show is huge. To help navigate the four-storey, 150,000-square-foot event, here are six of EDIT's highlights for six different tastes.
For foodies: Feeding the 5000
EDIT's final event, on Oct. 8, will be the Toronto edition of Feeding the 5000, a global series launched in 2009 by London-based charity Feedback that focuses on reducing food waste. Hosted by Food Network star Bob Blumer, a free meal, made from ingredients that would otherwise be put in the trash, will be served to anyone in attendance.
For economic activists: Equalizer
Inspired by EDIT's theme, Prosperity for All, London-based artist Moritz Waldemeyer (who worked on the closing ceremonies of the Rio Olympics and designed a jacket for pop star will.i.am) has created an interactive field of LED lights that literately illuminates the ways tax rates for different income groups impact society. Viewers can use a touch pad to change our tax rates, modulating the intensity of the light.
For big picture thinkers: Making Change speakers series
During the festival, more than 125 speakers will cover a range of topics. Familiar names include environmentalist David Suzuki and musician and Metric lead singer Emily Haines (who will be talking about creating a better future for women and girls). The lesser-known names, though, are equally interesting, such as Dutch artist Daan Roosegaarde, who is researching ways to compress air pollution into solid objects such as rings and cufflinks.
For design optimists: Prosperity for All
The show based around EDIT's central theme, Prosperity for All, contrasts harrowing photography of global conflicts (famine, natural disasters) by Magnum photographer Paolo Pellegrin, alongside design solutions helping to mitigate such conflicts (ways to clean up the air and oceans, boost economic activity in under-serviced communities). It is curated by Canadian design legend Bruce Mau, co-founder of the Massive Change Network and chief design officer at Freeman. "Designers are not operating in some utopia," Mau says, "disconnected from the conflicts and violence that is happening simultaneously … we are collectively working to solve the great challenges that we face."
For science lovers: Care
Curated by Canadian physician and scientist Julielynn Wong, Care looks at how design and technology (drones, 3-D printing) is making health care more affordable, accessible and humane. The exhibit includes Project Unicorn, a whimsical, glitter-shooting prosthetic co-designed by Jordan Reeves, an 11-year-old whose arm stops just above her elbow. "Today's digital world has the design, innovation and technology resources to better the health and well-being of people around the globe," Wong says. "Thinking big can have a positive impact on billions of lives."
For Design-Curious Kids: ACTUA's Innovation Station
EDIT isn't just for adults. "I'm particularly proud of our youth and kid's programs," says Levy, including ACTUA's Innovation Station. Taking place during the opening weekend, the hands-on exhibit enables young ones to learn the basics of coding, build their own robots and make musical instrumentals.
MIA: Where Are the Women Architects?
MIA: Where Are the Women Architects?
The representation of women as practising lawyers and doctors in Canada is approximately 40 percent (rising to 61.4 percent for doctors under 35). Why is it then that the similarly demanding profession of architecture stagnated in 2005 and remains at 25 percent? What are the barriers women face in this field, why are they not advancing to leadership levels and what can be done? These questions and more will be discussed on this timely topic, featuring a panel of women architects from all positions in the profession.
Panelists: Mary Lou Lobsinger, Camille Mitchell, Barbora Vokac Taylor, Delnaz Yekrangian
Moderator: Elsa Lam
In partnership with The Great Hall
Venue is wheelchair accessible.
TIme: Sunday, May 28, 2017 - 4:00 PM 5:00 PM
Location: The Great Hall1087 Queen Street WestToronto, ON, M6J 1H3
"I am not a female architect. I am an architect"
I was mentioned on Dezeen's list of 50 inspirational female architects and designers, to mark International Women's Day back in March. While I greatly appreciated the gesture and sympathise with the idea of giving tribute to the relatively few women who have managed to make their mark on the international world of architecture, I do, however, find these particular kinds of lists a step in the wrong direction.
Allow me to explain; I am not a female architect. I am an architect.
Rarely are women known as female accountants, female lawyers, female taxi drivers or female journalists. But "female architects" seems to be an unshakeable phrase.
When we talk about gender, we tend to talk about women. Men do not really have a gender. They are just… neutral. Non-gender. That is why you do not recognise the term "male architect". It just goes without saying.
Female architects are the exception to that rule. An anomaly worthy of applause and attention once in a blue moon – and International Women's Day seems as blue a moon as any.
"When we talk about gender, we tend to talk about women"
Groucho Marx famously quipped that he refused to join any club that would have him as a member. You might think that this is my problem. That I simply – due to some private, troubled relationship with my own gender – consider being a woman a personal failure, and that I would rather have go unnoticed. But you would be wrong in that assumption.
I am simply asking for the professional courtesy of being considered an architect, without a pre-fixed set of values or attributes. As a creative person working within a creative field, I rely on my ability to take on complex challenges with a full and multifaceted skill set. I do not approach assignments as a woman, but as a professional architect. But this last part seems to be confusing to many men and women within the business.
In 2007, I received a prestigious Danish award. Among other qualities, the jury based their choice on the "femininity" reflected in my projects. I could not help but wonder if the jury would have praised the masculinity of a male architect in the same fashion. Unlikely, seeing as the term "feminine architecture" is often used as a non-explicit label for architecture that poses no real threat to the top boys in what I like to call "the boy zone".
"Feminine architecture" is quite harmless. Beautiful, but harmless. No skyscrapers here. No towers. No corporate headquarters. No competition.
A very famous architect recently paid his version of a compliment to Lina Bo Bardi of Brazil for her fabulous SESC Pompéia, saying: "It is all so incredibly raw and ultra-brutal that one almost can't believe that it is the work of a woman." In other words: she is so good, that she could almost pass for a man. Just imagine what it would sound like if a male architect was equally praised for his surprising ability to design with real compassion and human insight? To create something so empathetic that one could hardly believe it was made by a man?
When addressing the discrepancy between the number of female architects and the kind of attention awarded to female architects, the compensational go-to-solution seems to be these well-meaning lists naming women who, in spite of or due to their gender, are doing well. Or special exhibitions featuring solely female architects. Or enthusiastic articles and interviews with female architects, and so forth. Because women are considered special, they deserve a special list.
"Despite all of the efforts to make female architects feel special, the result is quite the opposite"
There is a well-known test in journalism, called the Jew Test, for anyone who is in doubt about whether they are being accidentally discriminatory against a certain group of people, or simply focusing on attributes that are irrelevant. The trick is to substitute the name of the characteristic in question and replace it with the word Jew. The logic is that, since the second world war, the misuse of the word Jew still triggers a reflex in most people's brain. It immediately sounds wrong.
So how about a list of 50 inspirational Jews in architecture and design? Or would you care to visit a special exhibition of Jewish sculptors? And would you be surprised to read an article about nine memorable films by Jewish directors?
"Are we not long overdue a mind shift allowing men and women to work – and compete – within the same parameters?"
There is nothing wrong with competing in the Paralympics – unless of course you are perfectly qualified to compete in the regular Olympics. And despite all of the efforts to make female architects feel special, once a year, with special lists, the result is quite the opposite. It creates the distinct feeling of being second-class citizens within the business. An "every dog has its day" moment for the female architect!
However well-meaning, I cannot help but wonder whether magazines, galleries and websites could instead find a genuine and conscious way to remember to include women in their daily mentioning of architecture? Singling out a small group of women is just a case of misguided charity and does not simply buy atonement for forgetting about women for the remainder of the year.
Some architects cherish lists like these. Their argument is that, as women are still seen as second-class citizens in the profession, we should bask in the sun whenever it happens to shine. That a special mentioning is better than no mentioning at all.
I suppose this is a very pragmatic attitude towards the role of female architects. But it is terribly unambitious. Are we not long overdue a mind shift allowing men and women to work – and compete – within the same parameters, known simply as good architecture? And can we collectively make the verbal separation between "architects" and "female architects" a thing of the past?
A shorter, Danish-language version of this article originally appeared on Politiken.
This architect’s artistic spirit brings beauty into the world
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Toronto-based architect, artist and community builder Joy Charbonneau has a generosity of spirit that defies the stereotypes of creative types.
She believes in collaboration, not total control. She is interested in helping other designers promote their work, almost more than she is in finding an audience for her own. And she goes about her work with a bright, inviting smile (not a duck-lipped scowl or cerebral pout).
"My name is Joy," she says, "I have a lot to live up to."
Which she does by bringing beauty into the world with her works, and helping others do the same. She makes her own art (a black-and-white map of Canada that highlights the vital role of water in shaping our country's geography), and designs charming furniture with her husband-designer Derek McLeod (their Tufted Bench is made from walnut but looks like a pillow-y, soft cloud).
At the same time, she is an architect at one of Canada's most decorated studios, KPMB (where she's currently leading a project in New York City) and has a long history of helping promote contemporary Canadian designers and designs.
In 2017, for example, Charbonneau launched @marianadesigncanada, a daily Instagram feed that promotes one work of contemporary Canadian design, produced by makers and manufacturers from across the country. The collection of images bubbles with pride in our collective creative identity, and is a digital extension of the early design showcases she used to organize as part of the Toronto Design Offsite Festival. "I respect creativity," she says, "And I think that by calling out to other people's talents, we all learn and appreciate what's out there. The whole community gets stronger."
Charbonneau, in part, developed this spirit of sharing as a master of architecture student at the University of Toronto. She won a fellowship that involved intensively studying Frank Lloyd Wright for a year, including living at Wright's Taliesin studios, alongside other Wrightian scholars, in Wisconsin and Arizona. "When you live at Taliesin, you have to participate," she says. "Every week you would be on a different chore schedule, including cooking and setting the tables. If you were on landscape, you had to rake the rock garden."
Her unique mix of artistry and leadership abilities goes deeper, back to her childhood. Her mother "had an artistic spirit," introducing her to music and creativity at a young age. When her mother passed away, though, when Charbonneau was 11, she went to live with her aunt and uncle, who were more practical.
"My uncle was a businessman," she says. "He taught me things, like, if you aren't 10 minutes early, you're already late." Dating McLeod, who shares her passion for design, helped, too: they met in high school, and "he helped reignite my creative side," she says.
Charbonneau further learned to hone and balance both the left and right sides of her brain through studying architecture, which takes both the aesthetic sensibility to envision a project, and a certain ruthless discipline to bring it to life (including wading through mountains of contract documents and mundane details such as doorknobs and door hinges).
That discipline also helps Charbonneau co-ordinate all the things she's involved in. "I say yes a lot," she jokes. "But when you want to do something, you also just find the time. You find a way."
And when totally overwhelmed, she lives by the words, "When you don't know where to start, just do something." A further example of optimism for a joyful presence.
On International Women's Day: Meet the BEAT Team!
Building Equality in Architecture Toronto (BEAT), is an independent organization dedicated to the promotion of equality in the profession of Architecture through advocacy, mentorship, and networking.
Since its launch in 2015, BEAT has continued to successfully deliver events and web content that promote the advancement of women in the profession, and provide mentorship, networking and leadership opportunities. The success of BEAT, and its initiatives are reflective of the commitment and dedication of its Executive and Advisory Committee members.
BEAT’s Executive Committee consists of:
Joy Charbonneau, KPMB Architects
Rachel Cyr, KPMB Architects
Timea Jakab, Holt Renfrew
Stephanie Hosein, Omar Gandhi Architects Inc.,
Camille Mitchell, KPMB Architects
Dimitra Papantonis, Williamson Williamson Inc.
Sonia Ramundi, Williamson Williamson Inc.
BEAT’s Advisory Committee consists of:
Shirley Blumberg, Founding Partner, KPMB Architects
Meg Graham, Principal, Superkul Inc.
Pat Hanson, Founding Partner, gH3 Inc.
Brigitte Shim, Principal, Shim-Sutcliffe Architects Inc.
Betsy Williamson, Principal, Williamson Williamson Inc
In honor of International Women’s Day, we are pleased to present this Q&A with few of the Executive Committee members of BEAT.
Timea Jakab, Executive Committee
1) Can you tell us a bit about:
a. Your educational background?
I have an undergraduate and graduate degree of the University Waterloo School of Architecture.
b. Your cultural background?
I am Hungarian, moved to Canada when I was three.
c. Professional background (how did you begin your career...)?
I began doing co-op terms through Waterloo and then continued to work in the field in a variety of firms; interior, residential, commercial. I'm currently on the Store Planning & Design team at Holt Renfrew and love it.
2) What stage are you at your career in architecture?
I will be licensed as of this January - finally!
3) Why the field of architecture?
I love the idea that spaces can tell or create stories.
4) What is your role with B.E.A.T?
My role is primarily that of Social Media & Communications.
5) What provoked/inspired you to be part of B.E.A.T? Share your story?
The idea of women in architecture not only coming together, but rooting for and helping each other is paramount. This is a male dominated profession and it's so important that women have conversations with each other that move beyond an explanation of their portfolios; the experience of being a women in this field is unique and universal and one that needs to be shared.
6) What do you hope to gain/what messaging are you hoping to send out by being part of B.E.A.T?
For me, the most important message would be one of females supporting females. Be in career mentorship or general life advice, BEAT is a great group and resource.
7) Your thoughts on cultural diversity within the profession of Architecture?
It's so important that our organizations and workplaces foster the changing face of young architects. In any office in Canada, you'll find an eclectic mix of people, in ranging ages, genders and ethnicities. This needs to be highlighted more.
8) What do you see as the biggest challenges in the coming years for architecture (and women in architecture)?
I think one of the biggest challenges is (and has been) getting women licensed, promoted and represented in the field. There's a missing and important discussion too which revolves around the emphasis on a work-family balance. Though it's not a new idea, perhaps I'm at the age where it's becoming more and more relevant.
9) Do you have a particular project -a project that you worked on- that you can say changed the way you perceived the profession of architecture in Ontario?
I don't have a particular project in mind. In general, every project I've worked on has taught me a different aspect of the profession and that's been very rewarding.
10) Words of Wisdom for emerging young professional just entering the field of architecture?
Just be yourself!
Stephanie Hosein, Executive Committee
1) Can you tell us a bit about:
a. Your educational background?
I spent two years at UBC in Vancouver studying science and fine arts before returning home to Halifax to pursue architecture at Dalhousie University. I completed both my BEDS and MArch degrees at Dalhousie.
b. Your cultural background?
I was born and raised in Halifax, Nova Scotia. My father is from Trinidad and Tobago, and my mother is from New Brunswick. Even though I never had any Trinidadian relatives in Halifax, I have a group of close family friends who have become as close as family and who have introduced me to the food, music, lifestyle and rich culture of Trinidad. I have German roots through my mother, and its interesting reflecting back on how the incredibly different cultures of both sides of my family have played a large role in defining who I am today.
2) What stage are you at your career in architecture?
I am a recently licensed architect who joined Omar Gandhi Architect’s Toronto office as an Associate in October 2016. Prior to that, I worked at KPMB Architects for five years.
3) What is your role with B.E.A.T?
I assist with programming of various events, and also help behind the scenes with accounting and logistics. I am currently working to collect relevant statistics about women in architecture in Canada.
There are many statistics related to women in architecture in the U.S., but very few in Canada.
4) What provoked/inspired you to be part of B.E.A.T? Share your story?
I didn’t know the extent to which the profession is still male-dominated until I finished school and entered the work force. The ratio of men to women in most Canadian architecture schools is equal, but that ratio changes drastically in the working world. It was a harsh wake-up call to face this reality, and to realize how large of a factor gender plays in one’s delegated responsibilities, confidence and ultimately success in the field of architecture. Another concern that led to my involvement with B.E.A.T. was the large number of very talented female colleagues leaving the profession for various reasons, many of which have roots in inequality. I have since learned that this is the norm in architecture based on statistics released by architectural licensing bodies in the U.S., the UK and Canada.
5) What do you hope to gain/what messaging are you hoping to send out by being part of B.E.A.T?
There is a lot of work to be done in this industry, but I am fully aware that this is not an issue that is isolated to architecture. I've encountered sexist and discriminatory attitudes throughout my career. Female architects are just as knowledgeable and competent as their male counterparts, but in many instances are not valued as such. There are a variety of reasons for this, one of which is that it is still a male-dominated industry. I read an interesting article last year about how media has shaped the public perception of “the architect”. When you think of architects in major Hollywood productions or popular tv shows, can you think of one that that has been portrayed by a female actor? Or a role that has been played by a person of colour? Even Hollywood perpetuates the stereotype that architecture is a career for men – more specifically, a career for older, white men.
6) Your thoughts on cultural diversity within the profession of Architecture?
I believe it is extremely important to create and maintain diversity within architecture. You will be working with clients from a wide range of cultural, racial and gender backgrounds so it is very important to have an equally diverse profession to represent the needs of those for whom you are designing. Especially living in a city as diverse as Toronto, it is critical to encourage cultural diversity in all professions, including architecture. My sister is a big advocate for equity and equality among marginalized people, including racialized and LGBTQ* persons, and has been a tremendous influence in my life in that respect.
7) What do you see as the biggest challenges in the coming years for architecture (and women in architecture)?
When I speak to female colleagues, an issue that comes up time and time again is the retention of women in the architecture profession. It is a difficult career to lead while also maintaining work-life balance, and many women hoping to start families face the harsh reality of feeling like they need to choose between excelling professionally or having children. There are definitely some who are able to make it work, but that decision may come with sacrifices on both ends – perhaps not putting as much face time in the office as the employer expects, or missing out on precious family time at home. I don't have an answer to this dilemma. Architecture is an amazing profession because of how collaborative it is - that's one of the aspects of my work that I enjoy the most. But on the other hand, the importance of face-to-face teamwork makes it difficult to entertain flexible work hours to balance work and family responsibilities. For example, working from home part-time is not realistic for most architects as they are expected to spend the majority of their time in the office in a team setting.
Camille Mitchell, Executive Committee
1) Can you tell us a bit about:
a. Your educational background?
I completed the undergraduate and graduate program at the University of Waterloo.
b. Your cultural background?
I was born in Canada and am involved with Caribbean and African diaspora.
c. Professional background (how did you begin your career...)?
My first exposure to architecture profession was through placements in high school. I was primarily exposed to architecture through colleagues at Garwood Jones and Hannam at Hamilton. I was interested in applying for university program at University of Waterloo. I am grateful for the undergrad program at University of Waterloo, for it was very diverse and provided both practical and theoretic experience. The Co-op experience was an honour of the program and I was fortunate enough to complete studies in Waterloo, Cambridge, Montreal and Rome.
2) What stage are you at your career in architecture?
I am a liscenced architect with the OAA.
3) Why the field of architecture?
Interest in building and contributing to shape our surroundings.
4) What is your role with B.E.A.T?
Assist with managing and associating programs or events that provide opportunities to network and promote diversity for architects across Toronto.
5) What provoked/inspired you to be part of B.E.A.T? Share your story?
Initially, I became a member of BEAT to associate and network amongst other architects across the city.
6) What do you hope to gain/what messaging are you hoping to send out by being part of B.E.A.T?
I hope to continue to encourage and support opportunities and celebrations that promote diversity.
7) Your thoughts on cultural diversity within the profession of Architecture?
I am honoured to advocate for the profession and minority groups that are underrepresented professionally.
8) Do you have a particular project -a project that you worked on- that you can say changed the way you perceived the profession of architecture in Ontario?
My projects have been out of province for the past six years.
9) Words of Wisdom for emerging young professional just entering the field of architecture?
Make the best and interpret the architectural profession how you feel and see fit.
Dimitra Papantonis, Executive Committee
1) Can you tell us a bit about:
a. Your educational background?
My undergraduate was an Honours Double Major in Architecture and Economics at the University of Toronto, where I also completed my Master of Architecture. Fun fact, my graduating M. Arch class consisted of two thirds women.
b. Your cultural background?
First generation born in Canada, with a Greek cultural background.
2) What stage are you at your career in architecture?
Currently completing my internship.
3) Why the field of architecture?
As a child I wanted to be multiple things at once: a mathematician, a teacher, a builder, an accountant, etc - all this while also saying I'd be a writer and artist on the side. In the end architecture found me while I was applying for university and has since stuck.
4) What is your role with B.E.A.T?
I'm a member of the Executive Committee. Currently helping coordinate our third annual Women in Architecture Seminar.
5) What provoked/inspired you to be part of B.E.A.T? Share your story?
There is a Greek proverb that says 'a society grows great when old men plant trees whose shade they know they shall never sit in'. I want to share my experiences, learn from others, and help shape the future of our profession. Overall, I want to plant trees I may not be able to sit under.
6) What do you hope to gain/what messaging are you hoping to send out by being part of B.E.A.T?
It’s not just about women. It's about equality. The first two seminars had a great male turnout, as have some of our Mentorship Mondays. Through these events BEAT provides exposure to and mentorship by leaders in a profession that, although fairly equal at the university level, is still male dominated. This is what it's all about, awareness of what is happening around us, and helping bridge gaps through mentorship and networking. Change doesn't come from women only talking to women, but by engaging everyone. The same goes for all other minority groups in architecture. Everyone should have an equal voice and opportunity.
Our events really are open to everyone! From seminars, to building tours, and parties to name a few. Check out our website and sign up for our mailing list for more information: http://www.beatoronto.com/about-2/
7) What do you see as the biggest challenges in the coming years for architecture (and women in architecture)?
I’d rather discuss things to look forward to. It is exciting to see more women in different roles on site and on project teams - from architects, engineers, plumbers, contractors, and more. It is equally exciting to be working with groups of both men and women who treat each other with the respect and trust they deserve. We all have something different to bring to the table. I look forward to more of this in the coming years.
8) Words of Wisdom for emerging young professional just entering the field of architecture?
Find mentors you respect and learn from their years of experience. Feel comfortable asking questions, it’s okay not to know everything. Trust yourself. 'Proceed and be bold' - Samuel Mockbee
DXTalk: Because It's 2017
On International Women's Day, Design Exchange and BEAT welcome architects Shirley Blumberg from KPMB Architects, Betsy Williamson of Williamson Williamson, Peggy Theodore from Diamond Schmitt Architects, and Vanessa Fong from VFA, for an insightful discussion moderated by Chatelaine's Sarah Boesveld about why we talk about gender in architecture and if we still need to have this conversation.
In Canada, women represent roughly 28.9% of architects. The Ontario Association of Architects found that during the past 10 years, 33.1% of newly licensed Ontario architects were women.
While women and minorities continue to be underrepresented in architecture and design, and those who are practicing can endure obstacles in the workplace, they have made incredible gains in the profession. Still, their achievements and gender are inseparable – unlike their male counterparts. During our talk we will delve into the question, in 2017 is It Architect or Female Architect? And why do we still need the distinction?
HERstory in Black: Camille Mitchell
In honour of Black History month, CBC brings you stories from HERstory in Black, a Toronto-based digital photo series profiling 150 black women from the GTA and other parts of Ontario by How She Hustles, a network of 5,000 diverse women.
Who: Camille Mitchell
What she does: Camille is an architect with Toronto firm KPMB. She's an advocate of equality in her field through the organization BEAT, which offers mentoring and networking to women in architecture and she is tapping into diverse communities through youth mentoring.
What inspired you to pursue architecture?
Camille Mitchell: Growing up, I always had an interest in art and math. Architecture seemed like a healthy balance, but also my father was a draftsman. So, through his influence it was a good segue into a career.
What do you hope people take away from the photos of women featured in HERstory in Black?
Camille Mitchell: For myself, nothing has been impossible in terms of this profession. I've had great opportunities, I've had great work experiences and I've had great constructive criticism along the way. So, I think it goes back to exposure of the profession. Architects sort of have that control from afar to design and shape your space and we all experience space, whether it's your home or your workplace. So it is a valid profession to introduce to the next generation, especially minority children too, because at the end of the day why not be involved in something that we experience daily?
Success by design
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The site supervisor wasn't sure if he should invite the lady to the Christmas party. This was the late 1970s, during the construction of a federal building outside Edmonton. The lady was Vivian Manasc, then a twentysomething architect and often the only woman working on the project.
The party had "girls serving drinks who were not heavily dressed," Manasc says. "There was definitely a Playboy feel to it." In the end, the builders threw a second party, "to which wives and daughters and ladies were invited," Manasc, now a principal at her own firm, Manasc Isaac, says. But the bunnies kept hopping.
That was nearly 40 years ago; such institutional sexism wouldn't be tolerated on a building site today. Yet other things haven't changed much in that time. While Canadian architecture has some women among its leading lights, including Patricia Patkau of Patkau Architects and Brigitte Shim of Shim-Sutcliffe, the profession remains overwhelmingly male.
According to Annmarie Adams, a McGill professor and co-author of the study Designing Women: Gender and the Architectural Profession, approximately 20 per cent of Canada's registered architects are women. At the Royal Architectural Institute of Canada, a national organization, just 1,138 of its 4,860 members, about 23 per cent, are women.
Heather Dubbeldam
"Historically, creativity hasn't been gender specific. In every creative discipline women have played a role. And in architecture, I haven't noticed something that's been holding me back. You need all sorts of people around the table; in order to really make good work, you need all sorts of perspectives."
And that's a challenge, not just for the design profession but for the rest of society. Is it possible to shape buildings and cities that will work for everyone if women'svoices are so rarely leading the design process?
Toronto-based architect Heather Dubbeldam will be speaking, along with fellow architect Megan Torza, at Globe Style Saturday at the Interior Design Show, Jan. 21, on just that subject. Dubbeldam, who is the principal of Dubbeldam Architecture + Design, and Torza, who is a partner at the firm DTAH, have distinguished themselves as designers, rising quickly in a profession that favours men.
Dubbeldam's office has thus far largely designed private houses, winning a slew of national and international awards for its design quality. Now, the firm is shifting toward commercial and residential projects, including an interior for the tech firm Slack and a new building for the Canadian Centre for Rural Creativity.
And at her established Toronto firm, which joins architecture, landscape architecture and urban design, Torza is currently partner-in-charge of the Tommy Thompson Park Entrance Pavilion project and the master plan for the adaptive reuse of the Jury Lands in Bowmanville, Ont. She also worked on the design of Toronto's Evergreen Brick Works and Wychwood Barns. "My work has had two threads: community and sustainability," she says.
When we sat down recently for a conversation about their careers and the state of their profession, neither seemed eager to focus on their status as women in architecture. "I don't like to think of myself as a female architect," Dubbeldam says. "I think of myself as an architect, period." And yet both, having achieved success in the profession, are aware of particular barriers to women within architecture.
Megan Torza
"Women need to be really explicit about their role. They need to make clear just how they contribute to a team, which is a strength. A lot of the best architecture is, in some way, egoless: Great architecture comes sometimes from the architect taking a very light touch and letting themselves be guided by the clients. At the same time, the creative process is very personal, so how we balance that – and how you share your work and articulate your role – is really important."
Some challenges are similar to those found in other white-collar jobs: heavy educational requirements and long work hours, especially during the first act of one's career. "A lot happens in the years between 28 and 40," Torza says, "which are eventful years in a woman's life." In her own case, she says, she kept her focus on the office with the encouragement of her partner. "I had an opportunity in those years to put my head down and work, which – along with mentorship – is how I managed to make partner."
But architecture is also a profession that demands design skill, the ability to manage complex projects, all sorts of technical and business expertise and a large dose of people skills. Architects negotiate between the needs and desires of their clients – people with money and power – and work to realize their vision in the world of construction. "We're only one small piece of the industry," Dubbeldam says. "Construction and developers and engineers all tend to be male."
Communication – stereotypically something that women excel at – is critically important; Dubbeldam has turned this to her advantage. "On [construction] sites, I've found that being a woman in that role was an asset," she says. "It's a very confrontational, difficult, stressful industry, and being able to handle situations delicately is a real asset."
Though they prefer not to dwell on it, both women have experienced sexism in their professional lives. Dubbeldam says that her peers treat her "with absolute respect," and yet she remembers, as a young architect, hearing condescending remarks: "'A woman on site! That's so cute,'" she recalls. "But after you've had your first conversation about the work at hand, about the technical challenge you're facing, the people around you start taking you seriously." Torza adds: "You have to have a thick skin."
This sort of battle for respect – the challenge to do what men do, but better – also applies to architecture's intellectual leaders. The sudden death in 2016 of ZahaHadid, easily the most prominent female architect, brought this into focus: Where were her heirs? Why have so few women ascended to the intellectual heights of the profession?
Camille Mitchell
"'People wouldn't imagine minorities as architects. Black women are very rare in architecture, and I think it's exposure to the profession that is missing. My father was a draftsman, and that helped me find my way but if he wasn't there, I wouldn't be doing what I do, which is very satisfying for me. We need to reach out to minorities, even before architecture school, so they can find their way in."
To be sure, there are some trailblazers; the most prominent woman in the business today is Chicago-based Jeanne Gang, whose firm Studio Gang is an industry leader. And yet only two women ( Hadid and Kazuyo Sejima) have won the Pritzker Prize, architecture's most prestigious award, since its beginnings in 1979.
This near-omission of women architects has been insidious. In 1991, the Pritzkerwent to Robert Venturi, the American architect and theorist – but not to his wife and professional partner Denise Scott-Brown, who has been his lifelong collaborator in the office Venturi Scott-Brown Associates. In 2013, a group of students at Harvard University organized a petition; they proposed that Venturi'sPritzker should retroactively be shared with Scott-Brown. The prize's organizers shot the idea down.
The petitioners were drawing attention to a theme at the heart of architecture: Many of the most successful women in the field practice together with their husbands. In Canada, Brigitte Shim and Patricia Patkau both fit that mould – and their offices are among the most decorated design firms in Canadian history.
Torza says this sort of small business-slash-marriage provides "the ability to design your own life," and thus to manage the challenge of work-life balance in a novel way. New Brunswick's ambitious Acre Architects have done just that: The husband-and-wife couple of Monica Adair and Stephen Kopp brought their two kids into the office for more than a year each, sharing childcare between them and their staff. They built a playhouse in their studio, nicknamed HugoBureau, for their older son. "Because I don't care about the rules very much, I was able to do it," Adair says.
On the other hand, Adair says, work-life balance isn't much of an issue when you are consumed by what you do. "Stephen and I are people who love to work, and there is no boundary," she says. "I'll wake him up at 2 a.m. when I have an idea, and vice versa."
Brigitte Shim
"As our cities become denser, we need to ensure they also are more humane. We all need to continue to create places for gathering that reflects our evolving definition of community. Women have a critical role to play in ensuring that this reshaping of our urban landscape reflects who we are and what we believe in."
Many architects do marry each other – architecture school is an intense experience that bonds peers – but that model won't work for everyone, because the profession's work culture, which includes long hours and intense teamwork to attack a problem, makes it hard to step back.
And then, on top of designing, many architects are small business owners, and running a business and finding clients are even more difficult if you lack a network of people who might commission a project. Camille Mitchell, an architect at the Toronto firm KPMB, sees this as a problem for women, as well as people of colour and members of historically disadvantaged groups.
"You need clients. So yes, I'm an architect, but who am I working for?" Mitchell says. "It helps to have connections to established wealth. I had [friends] who left architecture school and were designing cottages for their relatives right away."
Mitchell is enthusiastic about her workplace – two of KPMB's three principals, Shirley Blumberg and Marianne McKenna, are women – and she is involved, along with Blumberg and several colleagues, in the advocacy group Building Equality in Architecture Toronto. She hopes, through outreach, to draw more women into the profession – and keep them there. Though women already outnumber men in many architecture schools, they are much more likely to drop out of the profession, because of, among other things, the profession's workaholic culture, the macho attitudes that survive within the building industry and the business world.
If the buildings and cities we live in are predominantly designed by men, they can't serve everyone's needs. And if this cycle continues, something of architecture's magic will be missing. "Architecture is about dialogue," says Manasc. "The work gains from this magical synthesis from the multiplicity of perspectives we bring to the table."