Editorial: Radical Space by Anna Maria Zuech

RADICAL SPACE

Zaha Hadid The Abandonment of the Right Angle

Index 02-03

Build a New World

04-05

Manipulation of Geometry

06-07

Movement

08-09

Floating and Flowing Architecture

10-11

Architectural Deconstructivism

12-13

Absolute Freedom

14-15

Deconstructing Forms

16-17

Fluid Forms - 520 West 28th Street

18-21

Pushing the Limits

22-23

Abandonment of the 90 Degree Angle

24

Credits

When n in a new a new w

new things are presented w way, we can build world In recent decades, the roles and patterns of life of women have changed dramatically, and so have their housing needs.

Foci of women-friendly planning are flexibility, variability,

Does architecture have a gender?

Is there a specific feminine architecture? It is still claimed today that what is good for humanity can not be bad for women. Actually, good architecture should not be a question of gender, because neither the creators nor their works are determined gender-specific.

But mostly the human turns out to be the masculine. The societal principles of male mission statements are often declared gender neutral and universal.

However, it is necessary to present the concerns of women differentiated and not immediately set aside.

An environment adapted to female needs is an important step in a more just and equitable world for men and women. Since people exist, the social position of women and men has been determined by role attribution, task and power distribution. Women do most of the day-to-day and care work, while men in traditional life groups largely live “everyday worries�. Architecture has always been a means of demonstrating power. Architecture makes people, shapes their everyday life, their movement and communication. You should start building on them.

Dongdaeum History and Culture Park, Seoul Photo: Cadop

Vitruvius, who died about 25 BC The first textbook on architecture was written in the 3rd century BC, which defines architecture in the three terms “utilitas, firmitas, venustas” - expediency, fortitude, beauty. This definition has since been taken up in every architectural theory, in the Renaissance, when Vitruvius’s “Ten Books on Architecture” were translated into modern languages ​​as well as in the ensuing building epochs. Even if new styles of architecture - such as deconstructivism or the “blob” - call these three categories into question, they have barely lost their validity: Structures have a purpose, a function, of serving a user.

The construction of structures follows

the principles of gravity, they should be stable, have a foundation and a structural system, which has an economic life of one hundred years. The buildings should meet aesthetic requirements.

They should set standards for the beauty of the structurally and spatially designed environment. All three categories that determine architecture seem to be neuter, neutral, humane in the common sense and not sexually differentiated, or even assigned a rank.

However, the category expediency or appropriateness raises the question, for which something should be appropriate and for whom something appropriate or comfortable should be.

So this is a socially oriented.

Torre Generali in Milan Photo Right: Ricardo Gomez Angel

Manipulation of geometry and space opens the barriers

However, the question remains, who has the power of definition about what is appropriate, steadfast or beautiful.

While purpose and construction are not fixed quantities and can be determined objectively, beauty is far more difficult to measure. The beauty of architecture is defined androcentrically (the man in the center) because mathematics and geometry, from which it is formed, spring from the ratio; and mind and reason have a male meaning.

Gender-specific connotations thus weigh on the beauty as well as the expediency and, consequently, on the steadfastness. Living before 1908 was associated with poverty, misery and illness.

The most important thing is movement, the flow of things, a non-Euclidean geometry in which nothing is repeated: a reorganization of the space.

Heydar Aliyev Center in Baku, Azerbaijan

Housing supervision was directed at housewives, all-day residents and mothers. Their creative and social power was incorporated into the housing reform of 1908, a social construction concept for healthy, socially responsible housing provision for low-income groups. With the change in work from self-employment to employment and a society in which the role of women was constantly changing, new housing needs were created. There was a higher demand for housing for the single employed woman. Already in the second half of the 19th century, about 40% of adult women were gainfully employed. From 1881 first housing projects of women for women emerged. Dedicated women founded private residential communities or convinced construction companies of their new project ideas. Their project contents fulfilled the special living and protection needs of women workers as well as their needs for service and service facilities, such as kitchen and cleaning services, reading room or salon. The socio-political emergence of women changed their role in the male construction world. Trailing, with many setbacks to the rigorous university laws, women conquered the first places in this male domain. Finland is considered a pioneer of female equality in Europe. There is a building known as early as 1856 - a girls’ school - an independent architect.

Almost at the same time in 1868, the first female students in the US were admitted. Many traces of women’s construction activities are blurred in the biographies of men.

There’s never a clear separation between the elements; everything floats, and flows into the rest

Photos: Richard Mortel Dongdaemun History and Culture Park

The one-sided naming of authorship and copyrights in publications, when actually architect couples are responsible or colleagues have been involved, is consistent. For example, hardly anyone knows that the architect Charlotte Parriand co-authored the famous Le Corbusier couch. The new building in the 1920s, shaped by the Bauhaus idea of ​​revealing interdisciplinary planning, shaped by the new socialist-oriented ways of life, devoted itself to living and living for the subsistence level. The goal was to improve the living conditions of the masses. For that you needed women. The architects Lilli Reich and Schßtte-Lihotzky were particularly associated with this movement.

Encouraged by the Dutch reform movement in housing construction, cooperative, resident-oriented planning philosophy for the broad low-income layers - the quality improvement of housing plans was dedicated.

Thanks to their wealth of ideas, the housekeeping industry gained attention and, above all, usable design. In this time, built in wardrobes, folding beds, stackable cups and plates. Save space without quality loss, was the motto. Quality of life through intelligent planning and use robustness in daily use characterized the planning goal adequate housing for all. Sustainable and precaution paired with high quality of use, are the essentials for designs.

The criteria concern aspects to be considered in planning and construction to create a woman-friendly living environment.

This is architectural Deconstructivism Uses neutrality to characterize this feminine design and usage logic.

The “new building�, triggered by housing shortage and restructuring of the company, helped to enforce minimum requirements.

There are many terms in our language that relate both to our built environment and to gender. Language is an expression of thought and reflects social structures because extra-linguistic and linguistic reality are connected and influence each other. Some terms are intended to show the linguistic power at this point. There is no feminine equivalent to the term client, linguistically not and even less in reality. The landlady is the host of a social gathering, the pedant is absurdly the landlord and not the housewife who has too little reputation for the exercise of this function.

Which in turn has its counterpart in the Hausmann, which still appears as an amusing object in jokes and in advertising, but hardly in reality. That the woman herself was seen as a dwelling, as a spatially ingestible object, shows the outdated word Frauenzimmer, which we know almost exclusively from literature and theater. The room was, in contrast, the room of the master of the house, in which conversations took place among men and important decisions were made.

Photos: Bobo Boom Antwerp Port House

Orient the discipline towards a discovery, a quest for absolute freedom with respect to constraints and forms Vitra Feuerwehrhaus Photos: Andreas Schwarzkopf

A female-friendly construction is characterized by the fact that it explicitly takes into account the housing needs and experiences of women and accommodates the diversity of life phases and processes through the greatest possible flexibility. These criterias come mainly from the accompanying documents of women-friendly architectural competitions: Women’s Office of the City of Vienna - MA 57 / Kail, Eva (1994). Notes on a women’s city planning (supplement to the “Women’s Works City” Carminweg). Women’s Office of the City of Salzburg (1995).

“Women create living quality - Housing Berchtesgadenerstraße” (Women’s Office of the City of Salzburg, documents for the press conference). City Woman e.V. (1995). Citizen participation Freiburg Rieselfeld. Conditions. Working Group on Women’s Planning. That’s essential for women.

With regard to the different household types, apartments should be as versatile as possible. Their floor plans should not be focused on a single phase of life or family form. Therefore, neutral and variable floor plans are indispensable. Rooms or small apartments, which may be rented as care rooms, work rooms, youth housing or can be given back (switch room), should favor the mobility within the condominium. The room layout should be able to adapt to the constantly changing family cycle. Usage - neutral spatial solutions should give freedom of choice over the purpose of a room allow. The size of the rooms should not determine either a specific use or a hierarchy. The apartment should offer each inhabitant a separate room.

However, it would be wrong to conclude that the smallest rooms are just big enough for small children.

By deconstructing forms, it’s possible to present cutting-edge work that evokes human emotion The utility value, the design quality and the communicative character of the residential building are essential for the living value and quality of the social space. Especially the orientability for children, who are not yet able to read, has to be considered. Frequently used paths and entrances should be short and barrier-free, well-lit and weather-protected.

Sufficient dimensioning and accessibility of stroller and bicycle storage rooms should be ensured: i. a ground-level, barrier-free arrangement close to the entrance area must be ensured. Walkways and staircases should be designed so that they can also serve as a place of communication with the neighbor. Narrow, dark corridors with endless escapes from apartment doors promote anonymity and often represent anxiety. Therefore, staircases and corridors should have natural light or be sufficiently lit and clearly laid out.

Common rooms can promote the communication.

Laundry and drying rooms do not necessarily have to be located in the cellar; also located on the roof.

How does the feminine appear in architecture?

The symbolism of the archetypes deals with this question.

Dongdaemun Culture and History Park, Seoul Photo above Left Page: Mathew Schwartz Photo below Right Page: Cadop Photo Right Page: Richard Mortel

“Highly expressive, sweeping fluid forms of multiple perspective points and fragmented geometry that evoke the chaos and flux of modern life.�

Zaha Hadid

520 West 28th Street, New York City, USA Apartment Building. Photo: Charisse Kenion

It is about pushing further the limits of the real The rectangle shows a (forward-looking) forward-looking structure. It is the symbol of the male. The circle, on the other hand, shows a self-contained structure that symbolizes the end of the mountain and the enveloping, the communal, the social - the feminine principle.

These basic principles mediating symbols are encountered throughout human history to this day. Often they are also associated with the sexuality of humans, the phallus and the uterus. This can be well understood in the history of architecture and art. Simple archaic round buildings follow the female, communal and sheltering principle. Illustrated in art by the cup shape. The stake, the flagpole, the Victory Column, the sculpture are all part of the male symbolism. As a result of this development, the skyscraper, the tower, the monumental have emerged today.

Today’s architecture is strongly influenced by the patriarchal principles of power and control. The towns and villages of this time have been built in their aesthetics and shape male. From the Stone Age to the Middle Ages, however, there is much evidence that building and building a home was a woman’s business. Houses were built and structured in ways that were beneficial to the family and community.

With industrialization and the introduction of iron, steel and concrete, society became more and more influenced by patriarchal models. The woman and the female were almost completely ousted from building. It was not until the beginning of the 20th century that women reappeared in architecture.

Women struggled to shape their own environment, gaining access to male domains. The topic of housing and social housing was the main task for the young generation of architects of the 1920s who were allowed to study for the first time. The modernization of the household and the relief of everyday life were the focus of much planning. Margarete Schütte-Lihotzky was the first architect in Austria and developed outstanding models in settlement and social construction. She built thought-out kindergartens and designed children’s furniture. The most significant of these, however, is their “Frankfurter Küche” (1926), a work-place thought out down to the smallest detail, which was intended to make working housewives easier, especially for working women. In Germany, Lucy Hillebrand and Maria Canthal had great success in the development of innovative community-promoting projects in housing and housing. Often the role of women in architecture was not mentioned, this is called “anonymous architecture”. The detached house is the prototype of a patriarchal form of living. Its origins date back to late Roman times. This is still the most popular form of living in our society. The interior and nature are female domains, the public space is a masculine-dominated space. Kuhlmann reports that women are better at nursing, residential.

Wirtschaftsuniversität Wien, Vienna, Photos: Friedrich Böhringer Photo Next Page: Ricardo Gomez Angel

“The idea however, is not to have any 90-degree angles. In the beginning, there was the diagonal.

The diagonal comes from the idea of the explosion which re-forms the space. This was a very important discovery.�

The architect Frank O. Gehry has shown his female side in a worldwide known project. In the Guggenheim Museum in Bilbao he has staged the feminine. The enveloping female principle characterizes this museum with its gentle curves, both outside and inside. Even the masculine in architecture does not necessarily have to be made by men. The British architect Zaha Hadid proves that women can excellently deal with typical masculine topics such as those of technology and achievement-orientedness. In 2004, she was the first woman in history to win the Pritzker Prize, thus entering a male domain. Zaha Hadid has also left its mark in Austria.

From her comes, for example, the ski jump on Bergisel and the Hungerburgbahn in Innsbruck. How is feminine expressed in architecture? The topic comes first, the character of the content influences the design in a sustainable way.

The topic heads, male or female.

Photo above: Alessio Lin Dominion Office Building in Moscow, Russia Photo below: Denys Nevozhai

Credits Free University of Bolzano - Bozen Faculty of Design and Art Bachelor in Design and Art Major in Design WUP 18/19 | 1st semester foundation course

Project Modul: Editorial Design

Design by: Anna Maria Zuech Magazine | Radical Space

Supervision: Project leader Prof. Antonino Benincasa Project assistants Maximilian Boiger, Gian Marco Favretto

Photography: Martino Pietropoli, Cadop, Ricardo Gomez Angel, Martino Pietropoli, Investigation 11111, Richard Mortel, Bobo Boom, Andreas Schwarzkopf, Mathew Schwartz, Cadop, Richard Mortel, Charisse Kenion, Friedrich Böhringer, Ricardo Gomez Angel, Alessio Lin, Denys Neyozhai, Bogitw, Anna Maria Zuech, Pop Zebra

Paper: Magno Satin 250g Gardamatt Art 135g

Fonts: Akkurat Fett Akkurat Light

Printed: Bozen-Bolzano, January 2019 Inside pages – Digital Print | Canon Cover – UV-Serigprahy

Zuech Anna Maria Free University of Bolzano