MoMoWo · 100 WORKS IN 100 YEARS

EUROPEAN WOMEN IN ARCHITECTURE AND DESIGN · 1918-2018

MoMoWo · 100 WORKS IN 100 YEARS
EUROPEAN WOMEN IN ARCHITECTURE AND DESIGN · 1918-2018

ISBN 978-961-254-922-0

9 789612 549220
not for sale
Ljubljana - Torino
MoMoWo . 100 Works in 100 Years
European Women in Architecture and Design . 1918-2018

Edited by Ana María FERNÁNDEZ GARCÍA, Caterina FRANCHINI, Emilia GARDA, Helena SERAŽIN

MoMoWo Scientific Committee:

POLITO (Turin | Italy) Emilia GARDA, Caterina FRANCHINI
IADE-U (Lisbon | Portugal) Maria Helena SOUTO
UNIOVI (Oviedo | Spain) Ana Mária FERNÁNDEZ GARCÍA
LU (Leiden | The Netherlands) Marjan GROOT
ZRC SAZU (Ljubljana | Slovenia) Helena SERAŽIN
UGA (Grenoble | France) Alain BONNET
SiTI (Turin | Italy) Sara LEVI SACERDOTTI

English language editing by

Marta Correas Celorio, Alberto Fernández Costales, Elizabeth Smith Grimes

Design and layout by

Andrea Furlan ZRC SAZU, Žiga Okorn

Published by
France Stele Institute of Art History ZRC SAZU, represented by Barbara Murovec
Issued by Založba ZRC, represented by Oto Luthar

Printed by
Agit Mariogros, Beinasco (TO)

First edition / first print run: 3000

Ljubljana and Turin 2016

© 2016, MoMoWo
© 2016, Založba ZRC, ZRC SAZU, Ljubljana http://www.momowo.eu

Publication of the project MoMoWo - Women’s Creativity since the Modern Movement
This project has been co-funded 50% by the Creative Europe Programme of the European Commission

This publication reflects the views only of the authors, and the Commission cannot be held responsible for any use which may be made of the information
contained therein.
This book was published on the occasion of the MoMoWo traveling exhibition MoMoWo · 100 Works in 100 Years · European Women in Architecture and
Design · 1918-2018, which was first presented at the University of Oviedo Historical Building, Spain, from 1 July until 31 July 2016. The Exhibition’s further
stops are: Lisbon (September 2016), Grenoble (November 2016), Amsterdam (March 2017), Ljubljana (April 2017) and Turin (June 2017)

MoMoWo Travelling Exhibition, Oviedo

Curator
Ana María Fernández García

Assistant curator
Esther Rodríguez Ortiz

Exhibition design by
Brezo Rubín and Pelayo Álvarez

MoMoWo Partnership

With the Patronage of

MOMOWO TEAMS

POLITO Team UNIOVI Team UGA Team

Margherita BONGIOVANNI Marta DÍAZ FERNÁNDEZ Alain BONNET
Carlo CALDERA Alberto FERNÁNDEZ COSTALES Norina D’ARRIGO
Elena DELLAPIANA Ana María FERNÁNDEZ GARCÍA Vanessa DELFAU
Francesco FIERMONTE Esther RODRÍGUEZ ORTIZ Viviana GIORDANO
Caterina FRANCHINI Sara VÁZQUEZ CANÓNICO-COSTALES Amina QUASHIE
Emilia GARDA
Mario GROSSO LU Team SiTI Team
Marcella GUY Marjan GROOT Sabrina ESPELETA
Guido MONTANARI Josh CROWLE Mariacristina FORCISI
Laura OTTONELLO Marit EISSES Sara LEVI SACERDOTTI
Fernanda PIZZOCCARO Petra KAMER Stefania MAURO
Daniela SCUGLIA Korrie KOREVAART Raffaella MOTTA
Chiara SERRA Willemien THIJSSEN
Annalisa STELLA Alex VAN DER MEER
Federica VOCI Emily VAN GENT

IADE-U Team ZRC SAZU Team

Rita BOTO Nejc BERNIK
José Ferro CAMACHO Andrea FURLAN
Eduardo CÔRTE-REAL Simona KERMAVNAR
Carlos DUARTE Renata KOMIČ MARN
Emília DUARTE Anica LAVRIČ
Márcia GOMES Franci LAZARINI
Catarina LISBOA Katarina MOHAR
Pedro RODRIGUES Mija OTER GORENČIČ
Sílvia ROSADO Blaž RESMAN
Marta SANTOS Helena SERAŽIN
Susana SANTOS Barbara VODOPIVEC
Maria Helena SOUTO Romana ZAJC
MoMoWo · 100 WORKS IN 100 YEARS
EUROPEAN WOMEN IN ARCHITECTURE AND DESIGN · 1918-2018
Summary

History Does not Stand in a Single File. 100 Works, 100 Years, 100 Creative Women in Europe
Caterina Franchini ........................................................................................................................................................................................ 14
On Women Architects. Looking for a Room of One’s Own: On the Visibility of Professional Women and Associationism in Europe
Ana María Fernández García ..............................................................................................................................................................................16

100 WORKS | 100 YEARS | 100 WOMEN

Catalogue .................................................................................................................................................................................................. 22
List of Authors ........................................................................................................................................................................................... 222

CHRONOMOMOWO
About ChronoMoMoWo
Ana María Fernández García ........................................................................................................................................................................ 225
List of Authors............................................................................................................................................................................................ 236

THEMATIC ESSAYS
Women in the History of Architecture and Design. Sailing to a New History
Caterina Franchini ...................................................................................................................................................................................... 238
Crossing Boundaries. Architecture, Design and beyond in the Age of the Pioneers
Elena Dellapiana ........................................................................................................................................................................................ 244
From the Embroidery to the Construction. Women in Design and Architecture: Domus 1928-1950
Caterina Franchini ...................................................................................................................................................................................... 249
To the History of Women Architects. Pioneers of North European Countries
Wenche Findal ............................................................................................................................................................................................ 256
Breaking Ground. Pioneering Women in Serbian Architecture
Aleksandra Ilijevski .................................................................................................................................................................................... 258
The Access of Women to Architecture. The Situation of Spain’s Female Pioneers
Ana María Fernández García and Esther Rodríguez Ortiz ................................................................................................................................ 262
In Praise of Shadows
Stéphanie Mesnage .................................................................................................................................................................................... 266
Spanish Design Made by Women
Alicia Menéndez Martínez.............................................................................................................................................................................272
Maria Helena Matos. A Woman Leadership in Portuguese Design on the Late New State’s Dictatorship
Maria Helena Souto .....................................................................................................................................................................................277
Being Two then Being One. Professional Recognition versus Gender
Claude Kovatchévitch and Alain Bonnet........................................................................................................................................................ 279
Modernism and Cross-Cultural Heritage: Moriko Kira Connecting the Netherlands and Japan
Marjan Groot .............................................................................................................................................................................................. 284
The Reinvention of Architecture in Democratic Times. Two Portuguese Studios Named after Women
Maria Helena Souto .................................................................................................................................................................................... 288
‘True Life’ and Spaces of Museums, Monuments, and Libraries Mediated by Women Designers in the Netherlands after 1999
Marjan Groot .............................................................................................................................................................................................. 290

MOMOWO INTERNATIONAL PHOTO COMPETITION. REPORTAGE ON WOMEN DESIGNERS’ OWN HOME

International Photo Competition Winners ..................................................................................................................................................... 296
Women’s Tale. A Reportage on Women Designers
Maria Helena Souto .................................................................................................................................................................................... 297

ANNEXES
Credits of Images ....................................................................................................................................................................................... 338
Bibliography .............................................................................................................................................................................................. 348
Index of Women Architects, Civil Engineers and Designers ............................................................................................................................. 362
Acknowledgments ..................................................................................................................................................................................... 368
 List of Authors
1918 Ana María FERNÁNDEZ GARCÍA 1953 Esther RODRÍGUEZ ORTIZ 1987 Rosa te VELDE, Marjan GROOT
1919 Josh CROWLE, Marjan GROOT 1954 Katarina MOHAR 1988 Giuseppa NOVELLO, Chiara SERRA
1920 Annalisa STELLA 1955 Margherita BONGIOVANNI 1989 Alain BONNET
1921 Marjan GROOT 1956 Ana María FERNÁNDEZ GARCÍA 1990 Alain BONNET
1922 Helena SERAŽIN 1957 Margherita BONGIOVANNI 1991 Josh CROWLE, Marjan GROOT
1923 Caterina FRANCHINI 1958 Eliana PEROTTI 1992 Alain BONNET
1924 Caterina FRANCHINI 1959 Maria Helena SOUTO 1993 Carlo CALDERA
1925 Chiara SERRA 1960 Maria Helena SOUTO 1994 Esther RODRÍGUEZ ORTIZ
1926 Caterina FRANCHINI 1961 Helena SERAŽIN 1995 Ana María FERNÁNDEZ GARCÍA
1927 David ÁLVAREZ VILLARÍN 1962 Barbara VODOPIVEC 1996 Alain BONNET
1928 Eliana PEROTTI 1963 Katarina MOHAR 1997 Helena SERAŽIN
1929 Ana María FERNÁNDEZ GARCÍA 1964 Alain BONNET 1998 Alain BONNET
1930 Fiorella BULEGATO 1965 Aleksandra ILIJEVSKI 1999 Maria Helena SOUTO,
1931 Maria Maddalena MARGARIA 1966 Lucia KRASOVEC Marta ALMEIDA SANTOS
1932 Chiara SERRA 1967 Emilia GARDA 2000 Gerardo DÍAZ QUIRÓS
1933 Esther RODRÍGUEZ ORTIZ 1968 Maria Helena SOUTO 2001 Carlo CALDERA
1934 Barbara VODOPIVEC 1969 Maria Helena SOUTO 2002 Alicia MENÉNDEZ MARTÍNEZ
1935 Antonello ALICI 1970 Fiorella BULEGATO 2003 Maria Helena SOUTO,
1936 Annalisa STELLA 1971 Emilia GARDA Marta ALMEIDA SANTOS
1937 Ana María FERNÁNDEZ GARCÍA 1972 Maja KOLAR, Maša POLJANEC 2004 Esther RODRÍGUEZ ORTIZ
1938 Guido MONTANARI 1973 Vladana PUTNIK 2005 Giuseppa NOVELLO, Annalisa STELLA
1939 Maria Helena SOUTO 1974 Rosa te VELDE 2006 Ana María FERNÁNDEZ GARCÍA
1940 Esther RODRÍGUEZ ORTIZ 1975 Alain BONNET 2007 Alain BONNET
1941 Ana María FERNÁNDEZ GARCÍA 1976 Guido MONTANARI 2008 Maria Helena SOUTO,
1942 Ana María FERNÁNDEZ GARCÍA 1977 Rosa te VELDE Marta ALMEIDA SANTOS
1943 Ana María FERNÁNDEZ GARCÍA 1978 Rosa te VELDE, Marjan GROOT 2009 Esther RODRÍGUEZ ORTIZ
1944 Gerardo DÍAZ QUIRÓS 1979 Melita ČAVLOVIĆ, 2010 Alain BONNET
1945 Maria Helena SOUTO Mojca SMOLE CVITANOVIĆ 2011 Helena SERAŽIN
1946 Elena DELLAPIANA 1980 Alain BONNET 2012 Maria Helena SOUTO
1947 Rosa te VELDE 1981 Martina MALEŠIČ 2013 Maria Helena SOUTO,
1948 Antonello ALICI 1982 Maria Helena SOUTO Marta ALMEIDA SANTOS
1949 Annalisa STELLA 1983 Henrieta MORAVČIKOVÁ 2014 Marjan GROOT
1950 Margherita BONGIOVANNI 1984 Henrieta MORAVČIKOVÁ 2015 Ana María FERNÁNDEZ GARCÍA
list of authors

1951 Elena DELLAPIANA 1985 Maria Costanza GIAI 2016 Marjan GROOT
1952 Elena DELLAPIANA 1986 Emilia GARDA 2017 Gerardo DÍAZ QUIRÓS
Thematic Essays
 Aleksandra Ilijevski
Breaking Ground. Pioneering Women
in Serbian Architecture

I n the history of Serbian architecture, the time of innovation

and fundamental restructuring of form begins at the end of the
nineteenth century and reaches full development between the two
girls attended.3 In 1883 important affirmative action law was
passed, introducing six years of compulsory education for each
child living in Serbia. The state supported the advanced education
World Wars. During that period, various socio-political factors of its citizens at the Universities in Europe, including a small
affected Serbian architecture, creating a framework for deeper number of women. At the same time, women begun to enrol the
insight into distinct aspects of architecture in a broader cultural Great School in Belgrade, at first with special permissions. In 1905
context. As a case in point, women have been present in the Serbian the Great School became the University in Belgrade, and since then
architectural profession since the beginning of the twentieth there has been no gender distinction between students. Following
century, although the work of many is still not well-known. Some that, in the period 1896-1940 there were 144 women known by name
important steps have certainly been taken in order to reconstruct who enrolled to study architecture in Belgrade.4
extraordinary lives and careers of a pioneering woman architect.1 Jelisaveta Načić is one of the highly acclaimed Serbian
The second half of the nineteenth century was a period of architects.5 She was born in 1878 in Belgrade, in the family of
turbulence that led from the Principality to the 1882 Kingdom a wealthy trader Mihailo S. Načić. In 1896 she enrolled at the
of Serbia. After the First World War, Serbia became part of the Technical Faculty of the Great School. She broke the ground when
Kingdom of Serbs, Croats and Slovenes, in 1929 renamed the in 1900 graduated from the Architectural Department among the
Kingdom of Yugoslavia. Set between modern and traditional first students with a degree in architecture, and became the first
identities, modernizing forces dominated the society. The status Serbian woman architect. Upon acquiring her degree, Jelisaveta
of women started to change in the second half of the nineteenth Načić worked as an intern at the Ministry of Construction, but
century, and it was determined by general social conditions after passing the license exam failed to continue employment.
and the right to education. In following decades that elusive More specifically, military service was mandatory for a senior civil
position provided access to employment, economic and social servant, and simply because she was a woman, she was denied
independence. the position. Soon afterward, she was employed at the Belgrade
The formation of the first schools for girls was allowed by law of Municipality in 1903, where she spent her working years, and
1844, and where such schools did not exist, girls could attend boys’ gained wide recognition from her colleagues. She also opened the
schools until the age of ten.2 Foreign female teachers established path to employment of women architects in the public sector. Her
first private secondary schools for girls, and state sponsored most renowned work was King Petar I Primary School in Belgrade
thematic essay

secondary education started in 1863 with the opening of the High (1907) (fig. 1). She designed many buildings including Tuberculosis
School for Girls in Belgrade. Besides providing general education, Sanatorium (1912, damaged in the First World War, demolished),
school prepared women teachers to work in primary schools which Saint Aleksandar Nevski Church in Belgrade (1909-30, her design
 colleagues even made front page of the Berliner Illustrirte Zeitung.
She returned to Belgrade and, unlike Jelisaveta Načić before her,
gained a position at the Ministry of Construction as an architect. At
that point, she went to Russia to marry architect Andreja Katerinić,
a colleague from Darmstadt. Until 1922 the couple lived in Russia
and after the October Revolution with their three sons returned
to Yugoslavia. Jovanka continued to work at the Ministry of
Construction. Andreja was employed at the Belgrade Municipality.
Among his designs, stand out school buildings, like King Aleksandar
I Primary School in Dečanska Street (1930, today Music School).
During Jovanka’s long career at the Architectural Department
of the Ministry of Construction (1923-45) she was engaged in
fig. 1 numerous architectural projects. She completed the main pavilion,
Kursalon (1932, with architects Milan Minić and Nikolai Krasnov),
was significantly changed during the interwar period), and Saint
and the Mud Bath Pavilion (1929) in Banja Koviljača. In that period
Archangel Church near Štimlje (1922). Načić also built number of
architects at the Ministry of Construction specialized in field of
private houses and apartment buildings. She contributed greatly
educational facilities as state schools were built wherever they
to Belgrade urban development, by working in collaboration
were needed. Just before the War Jovanka started to design the
with colleagues on urban design of the Kalemegdan Park at the
monumental main building of the Faculty of Veterinary Medicine of
Belgrade Fortress, and the Terazije Square. During the First World 258
the University of Belgrade (1942) (fig. 2). When the war ended she
War she kept working on the reconstruction of the bombarded 259
resumed her work at the Ministry of Construction until 1945, when
Belgrade, until she was, as a civilian, imprisoned in a camp in
she retired. She died in 1966 in Belgrade.
Nezsider (today Neusiedl am See, Austria). There she met Luka
Architect Milica Krstić née Čolak Antić8 was born in 1887 in
Lukai (Luk Lukaj), Albanian intellectual. In the time of internment
Kragujevac, as the granddaughter of duke Čolak-Anta Simeonović.
they married and in 1917 had a daughter. After the war, she
After finishing the High School for Girls in Belgrade in 1906, she
briefly returned to Belgrade, then moved to Shkodër (Albania)
enrolled at the Architecture Department of the Technical Faculty of
and became completely involved in family life and her husband’s
political activism. Thereafter, the family settled in Dubrovnik.
Jelisaveta Načić never worked as an architect again and after the fig. 2
death of her husband dedicated herself to raising her daughter.
She died in 1955 in Dubrovnik.
Another pioneering Serbian architect was Jovanka Bončić
Katerinić born in 1887 in Niš.6 Her father was court judge Mihailo
Bončić. She began to study architecture in 1905 in Belgrade. After
the seventh semester, as a state fellowship holder, in 1909/10
she enrolled to study engineering in Darmstadt. Jovanka Bončić
(Bontschits) completed her four-year Diploma course in 1913 as
Technische Hochschule Darmstadt’s first female graduate and
Germany’s first female university-trained engineer.7 A lady engineer
was a novelty, and a photo of Jovanka sitting among her male
 Saint George Church, the mausoleum of the Karad-ord-ević dynasty
in Oplenac. Also, she took part in the Fourth Yugoslav Art Exhibition
(1912), as the only woman amongst architects, and exhibited
her design for the King Petar I Primary School. Jovanka Bončić
Katerinić, And-elija Pavlović and Jovan Ranković in 1930 won the
major national competition for Ban’s Palace (built in 1931) and Ban
Administration Building (1932) in Banja Luka.
Milica Krstić was a pioneer in public education and a leader in
the campaign for gender equality. She was active member of the
Architects’ Club - Belgrade section of the Association of Yugoslav
Engineers and Architects, who wrote articles for the daily papers
and gave an inspiring public lectures about women’s rights issues,
fig. 3 or architectural exhibitions and conferences she visited abroad.
the University in Belgrade, and graduated in 1910. She was married Numerous women’s organisations altered social dynamics
to architect Žarko Krstić, whom she met during the studies. In the and produced changes within Serbian society. The Cvijeta Zuzorić
Aleksandra Ilijevski: Breaking Ground. Pioneering Women in Serbian Architecture

period 1914-41 Milica Krstić worked in Architectural Department Association of Friends of Art established in 1922 promoted cultural
of the Ministry of Construction, and in 1940, as a respected responsibility. Situated in the Kalemegdan park, the Cvijeta
architect she gained the highest position, rank of inspector. Zuzorić Art Pavilion opened its door in 1928 and set in motion a
Like her co-worker Jovanka Bončić, she was assigned to design chain of exhibitions, also musical and literary events.12 In June
school buildings, and developed a series of drafts that captured 1929 the Group of Architects of the Modern Movement organised
regional building traditions. Her most lauded buildings are two in the Pavilion the Salon of Architecture. On that first inter-war
monumental schools in Belgrade that reflected architect’s interest exhibition of contemporary architecture in Belgrade among
in equal educational opportunities for boys and girls, as well as the twenty-two architects/teams participated Milica Krstiø and
challenge of creating a clean and healthy learning environment.9 Ljubica Todorović.
Second High School for Girls (1933, today Nikola Tesla Electro Eminent women artists from Yugoslavia, Romania and
technical High School) was opulent building in modernized Serbian- Czechoslovakia gathered in 1938 Exhibition of Women Artists of
Byzantine style, with basement, ground floor, three levels with the Little Entente, in order to emphasize shared geopolitical and
around 250 classrooms,10 and a chapel. In the First High School cultural sphere. The exhibition encompassed not only painting and
for Boys (1938, today First Belgrade Gymnasium) (fig. 3), on the sculpture, but also architecture, and nine architects were selected
other hand, she rejected the ornament, gaining contemporary, from Yugoslavia. Dušana Šantel Kanoni was from Ljubljana. Ksenija
modernist building. Her opposing design is explained in the context Grisogono who presented villa in Dalmatia, and Zoja Dumengjić
of varying national and modern approaches of the time. Milica’s who exhibited the design of Hygienic Institute were from Zagreb.
husband Žarko, as the head of sector at the Belgrade Municipality, There also participated six architects from Belgrade. Ružica Ilić
was engaged on many projects including the Primary School (1928) displayed the design of Labour Building. Desanka Jovanović, who
in Bulbulder neighbourhood in Belgrade. He was army reserve worked in Belgrade Municipality, presented the design of Queen
engineer captain, and was killed in April 1941.11 Milica Krstić- Marija Primary School. Danica Kojić exhibited the design of Maison
Čolak Antić died in 1964 in Belgrade. Particulière, and Milica Krstić the design of High School for Boys in
At the very beginning of her career Jelisaveta Načić reached Belgrade. Jelena Minić was also from the Ministry of Construction,
a milestone with third place in 1903 national competition for the and presented the interior design of the Majestic Hotel in
Belgrade.13 Jelisaveta Načić exhibited the Petar I Primary School in helped to build modern civil society. Jelisaveta Načić, Jovanka
Belgrade.14 Queen Marija of Yugoslavia, Queen Marie of Romania Bončić Katerinić and Milica Krstić succeeded in achieving the right
and Hana Benešová, wife of the president of Czechoslovakia were to education, equal employment and professional recognition.
the patrons of the exhibition which proved that by the end of Furthermore, they still inspire other women to enter the
inter-war period, the social stands regarding professional women, architectural profession.
including architects, have inevitably changed.
The first generation of women architects in Serbia were the
pioneers of female emancipation, and their public engagement

Notes:
1 Architect Divna Đurić Zamolo (1922-95) accomplished the initial Ženske učiteljske škole i Veterinarskog fakulteta,” Godišnjak grada
historical research about women in Serbian architecture, including: Beograda 55 (2008), 265-90.
Divna Đurić-Zamolo, “Grad-a za proučavanje dela žena arhitekata 7 Bončić’s examination records and diploma are held at the Technische
sa Beogradskog univerziteta generacije 1896-1940,” in Aleksandar Universität Darmstadt, Archiv. Acknowledging Bončić’s importance,
Kadijević (ed.), PINUS zapisi 5 (Beograd: Zajednica tehničkih the Jovanka Bontschits Prize is awarded to outstanding women
fakulteta Univerziteta, Muzej nauke i tehnike, 1996). Many authors graduates of the Department of Materials and Earth Sciences at
contributed to the subject, and selected prior publications will be Technical University Darmstadt.
referred to hereinafter. For the most recent overview on the subject
8 About Krstić see: Đurić-Zamolo, Grad-a, 42-3; Snežana Toševa,
see Milena Zindović (ed.), Žene u arhitekturi: Savremena arhitektura “Arhitekt Milica Krstić (1887-1964),” Godišnjak grada Beograda 44
u Srbiji posle 1900 = Women in Architecture: Contemporary (1997), 95-114.
Architecture in Serbia since 1900 (Beograd: Centar za arhitekturu = 260
Belgrade: Center for Architecture, 2014). 9 Anna Novakov, “Educating Girls: Women Architects and the Design of 261
Three Schools in Belgrade, 1908-1938” in Jelena Bogdanović, Lilien
2 Ljubinka Trgovčević, Planirana elita: O studentima iz Srbije na Filipovitch Robinson and Igor Marjanović (eds.), On the Very Edge:
evropskim univerzitetima u 19. veku, (Beograd: Istorijski institut, Modernism and Modernity in the Arts and Architecture of Interwar
Službeni glasnik, 2003), 186-87. Serbia (1918-1941) (Leuven: Leuven University Press, 2014), 167-77.
3 By 1900, Serbian girls were attending 165 elementary schools, and 10 “Druga ženska gimnazija koja će se na proleće dovršiti, imaće oko 250
by 1914 there were 12 gymnasiums, 45 craft schools, two teacher prostorija,” Vreme, October 19, 1932, 8.
education schools, three colleges, and several private schools. As
11 See commemoration announcement: “Pomeni (2183) 1-2,” Opštinske
stated in Trgovčević, Planirana elita, 189.
novine, May 29, 1941, 4.
4 Đurić-Zamolo, Grad-a, 8-12.
12 Designed by architect Branislav Kojić. His wife, architect Danica Kojić
5 About Načić see also Milan Minić, “Prva beograd-anka arhitekta née Milovanović was the interior designer. See Aleksandra Ilijevski,
Jelisaveta Načić,” Godišnjak grada Beograda 3 (1956), 451-8; Olivera “The Cvijeta Zuzorić Art Pavilion as the Center for Exhibition Activities
Nožinić, “Jelisaveta Načić: Prva žena arhitekta u Srbiji,” Zbornik za of Belgrade Architects 1928-1933,” Zbornik Matice srpske za likovne
likovne umetnosti Matice srpske 19 (1983), 275-93; Divna Đurić Zamolo, umetnosti 41 (2013), 237-48.
“Prilog poznavanju života i rada arhitekte Jelisavete Načić,” Godišnjak
13 Architect Milan Minić, Jelena’s husband, built the hotel in 1937.
grada Beograda 36 (1989), 149-62; Đurić Zamolo, Grad-a, 43-7; Jelena
Bogdanović, “Jelisaveta Načić: The First Serbian Female Architect,” 14 See also La Petite Entente des Femmes. Exposition des Femmes
Serbian Studies 18, No. 2, (2004), 403-11; Divna Đurić-Zamolo, Graditelji Artistes des Etats de la Petite Entente: 1938 Belgrade, Zagreb,
Beograda 1815-1914 (Beograd: Muzej grada Beograda, 2011), 218-27. Ljubljana, Bucarest, Cluj, Cernatuzi, Praha, Brno, Bratislava (Praha:
Orbis, 1938), 39-40.
6 About Bončić Katerinić see: Đurić-Zamolo, Grad-a, 19-21; Draginja
Maskareli, “O delatnosti arhitekte Jovanke Bončić Katerinić,”
Leskovački zbornik 43 (2003), 217-22; Đurd-ija Borovnjak, “Arhitektura
dva školska objekta Jovanke Bončić-Katerinić u Beogradu: Zgrade
Annexes 337
337
 Credits of Images

All images included in this catalogue are from the public domain, except In Praise of Shadows
in those cases, where credits are mentioned. Figure 1. Workshop at the École Spéciale d’Architecture, ESA, in 1904-1905.
On the left of the door: Lydie Issacovitch (graduated from the ESA in
Crossing Boundaries: Architecture, Design and beyond in the Age of the 1906) who studied in the same class as Robert Mallet Stevens (second
Pioneers counting from the right) and was the second women graduated from
Figure 1. Margarete Schutte Lihotzky, dwelling for a professional woman. the ESA after Adrienne Lacourrière (graduated in 1896). ©SADESA/ESA.
Credit: “Die Wohnung der berufstätige Frau,” Baumeister 26 (1928): Figure 2. Photograph of ESA class in 1908-1909. Middle row, dressed in
231-32. white: Verna Cook, american (1890-1978) who had a certain fame
Figure 2. Gae Aulenti, Villa nel Bosco, drawing, 1963. Credit: Dottore because of her architectural work and her books about Mexican
architetto Gae Aulenti: “Gae Aulenti habla de las Olivetti de Correa y architecture in the 1960s. ©SADESA/ESA.
Milá,” Cuadernos de arquitectura 74 (1969): 25. Figure 3. Éliane Castelnau and Henri Tastemain architects: School group,
Figure 3. Gae Aulenti, Pipistrello Table Lamp, 1965, produced By Martinelli Petite Jean Street in Rabat; published in L’architecture d’aujourd’hui
Luce, Lucca, Italy. Courtesy. June (1955).
Figure 4 (a, b, c). Covers of the three French magazines which have
From the Embroidery to the Construction. Women in Design and devoted a special section to women architects in the last 15 years:
Architecture: Domus 1928-1950 Urbanisme (1998), Architecture Intérieure Créé (1999),
eaV (2009/2010).
Figure 1. From: Emilia Rosselli, “Nuovi tessuti e ricami dalla Svezia,”
Domus 94 (1935): 33.
Figure 2. Gio Ponti, “Buone notizie da Rapallo,” Domus 236 (1949): 4. Spanish Design made by Women
Figure 3. From: “Una casetta all’Asmara,” Domus 146 (1940): 42. Figure 1. Nani Marquina portrait. ©Albert Font.
Figure 4. From: “Un soggiorno,” Domus 232 (1949): 36. Figure 2. Patricia Urquiola portrait. ©Alessandro Paderni- Studio EYE.
Figure 3. Fjord Chair. ©Studio Urquiola.
To the History of Women Architects: Pioneers of North European
Countries Maria Helena Matos: a Woman Leadership in Portuguese Design on the
Figure 1. Högna Sigurdardottir Anspach, House in Bakkaflöt, 1968. Late New State's Dictatorship
Figure 2. Lilla Hansen, Heftyeterrassen Oslo, 1912. Figure 1. Maria Helena Matos glasses produced in the 1960s by Stephens
Brothers’ Factory School, at Rehearsal for an archive: Time and Word.
Design in Portugal (1960-1974), exhibit, act, debate, MUDE exhibition
Breaking Ground: Pioneering Women in Serbian Architecture (Lisboa: 22 Oct. 2015-27 Mar. 2016), curated by Maria Helena Souto.
Figure 1. Jelisaveta Načić, Belgrade, 1878 - Dubrovnik, 1955. King Petar I ©Luisa Ferreira.
Primary School in Belgrade (1907). Period postcard. Figure 2. Catalogue cover of the International Exhibition of Industrial
Figure 2. Jovanka Bončić-Katerinić, Niš, 1887 - Belgrade, 1966. Faculty Design. Lisboa: INII, 1965.
of Veterinary Medicine of the University of Belgrade, design. From: Figure 3. Overview of the 1st Portuguese Design Exhibition, Stock Exchange
Vreme, June 25, 1940, 9. building, Oporto, November, 1971.
credits of images

Figure 3. Milica Krstić-Čolak-Antić, Kragujevac, 1887 - Belgrade 1964.

First High School for Boys (1938, today First Belgrade Gymnasium).
Being Two then Being One: Professional Recognition versus Gender
©Aleksandra Ilijevski, 2016.
Figure 1. Françoise Hélène Jourda portrait.
Figure 2. Jourda & Perraudin. Lyon’s School of Architecture, 1987. Figure 5. Petra Blaisse, Textile Mural Damask in Stedelijk Museum in
Figure 3. Jourda & Perraudin. Akademie Mont-Cenis, Herne, Ruhr, 1999. Amsterdam, 2012. © Marjan Groot
Figure 4. Françoise Hélène Jourda. Pajol Hall, Paris, 2013. Figure 6. Petra Blaisse, Cosmic Curtain for the library in Quatar, 2015-2016.
Situation perspective and examination of the solar panel fabric co-
created with the Textile Laboratory of the Textile Museum in Tilburg.
Modernism and Cross-Cultural Heritage: Moriko Kira Connecting the
Photo at http://www.textielmuseum.nl/uploads/content/17_Co-
Netherlands and Japan
creatie_1.jpg. Accessed May 1, 2016.
Figure 1. left: Exterior of the Siebold House, Leiden, Netherlands.
Figure 7. Katja Hogenboom, Leiden University Library: An endless
Figure 1. right: Moriko Kira, Room with display in the Siebold House,
repetition of doors as a sense of archive, besides the individual
Leiden, Netherlands, 2004. Photo courtesy Marjan Groot.
workspaces, with glass walls in between them giving a sense of being
Figure 2. Moriko Kira, Spatial intervention for Almelo train station, alone together. Design Katja Hogenboom studio in collaboration with
Netherlands, 2012. Photo courtesy Moriko Kira. FELSCH architects. Photo courtesy Katja Hogenboom.
Figure 3. Moriko Kira, Detail of new wall with plants at Almelo train
station, Netherlands, 2012. Photo courtesy Moriko Kira.
1918:
Figure 4. Moriko Kira and Blomsma Print & Sign, Spatial design with
Figure 1. Sonia Terk Delaunay portrait.
translucent glass walls for the hall of Boxtel train station,
Netherlands, 2011. Photo courtesy Moriko Kira. Figure 2. Interior Design. ABC, Biblioteca Municipal de Gijón.
Figure 5. Moriko Kira, Spatial re-design of a waiting room in the old train Figure 3. Delaunay’s design. ABC, Biblioteca Municipal de Gijón.
station at Almelo, Netherlands, 2012. Photo courtesy Moriko Kira. 1919:
Figure 1. Atelier for Richard Roland Holst in Zundert, 1919. Photographer
The Reinvention of Architecture in Democratic Times: Two Portuguese unknown. ©Het Nieuwe Instituut Rotterdam, Netherlands. Archives
Studios Named after Women. Kropholler.
Figure 1. Teresa Nunes da Ponte, Setúbal School of Hospitality and Figure 2. Margaret Kropholler portrait (c. 1911).
338
Tourism. Refurbishment, Rehabilitation e Expansion. Execution 1920:
project, April 2010. Figure 1. Pillowcase, 1920, Cotton and mohair (large 49 x high 114 cm). 339
Figure 2. Inês Lobo, Francisco Rodrigues Lobo High School (detail). Leiria, Figure 2. Gunta Stölzl portrait.
2008-2011. ©Leonardo Finotti. Figure 3. Wall Hanging Slit Tapestry Red/Green, 1927-28 Cotton, silk, linen
(large 110 x high 150 cm).
‘True Life’ and Spaces of Museums, Monuments, and Libraries Mediated by 1921:
Women Designers in the Netherlands after 1999
Figure 1. Fire screen with panel in cloisonné technique with a décor of a
Figure 1. Ineke Hans, Interventions for the exhibition True Life. De (stijl) fantastic dragon, 1921. ©Stedelijk Museum Amsterdam.
kamers van Ineke Hans in period rooms at the Gemeentemuseum The
Figure 2. Detail of fire screen panel in cloisonné technique with a décor
Hague (left) and the Louis XVI period room as a kitchen (right), 2003.
of a fantastic dragon by Marie Kuyken, 1921. Collection Stedelijk
Photo at website, Gemeentemuseum The Hague, accessed April 29,
Museum Amsterdam. ©Jan de Bruijn.
2016.
Figures 3 and 4. Detail of panel in cloisonné technique with an Egyptian-
Figure 2. Matali Crasset, Stedelijk Museum Den Bosch. Photo at http://
inspired décor of birds by Marie Kuyken, inserted in a cabinet, 1919.
www.designartnews.com/pagina/1denboschENG.htm, accessed April
Private collection. ©Jan de Bruijn.
23, 2016
1922:
Figure 3. Jongerius Lab, Object display and exhibition space for the
first retrospective exhibition Misfit of Hella Jongerious at Museum Figure 1. Helena Vurnik portrait. Detail from photo of Vurnik family. From:
Boymans van Beuningen, Rotterdam 2010. Photo at http://www. Ivan Vurnik (1884–1971). Slovenski arhitekt: Slovenian architect,
jongeriuslab.com/work/misfit. Accessed April 28, 2016. edited by Janez Koželj, 64–72. Ljubljana: Arhitektov bilten, 1994.
Figure 4. Marijke van Wijst in collaboration with OTH designers, Special issue of Arhitektov bilten: International Magazine for Theory
Modernization of the Great Court Room of Justice in the Peace Palace of Architecture, 24, no. 119/124 (1994): 225.
in The Hague, 2012-2013. Carpet design Annet Haak. Photo at http:// Figure 2. Cooperative Business Bank Façade. ©UIFS ZRC SAZU.
www.smeulders-ig.nl/wp-content/uploads/2013/10/130812-10951. Figure 3. Celebratory ornate for Bishop Anton B. Jeglič, Ljubljana
jpg. Accessed May 1, 2016. Cathedral. ©UIFS ZRC SAZU.
 1923: 1929:
Figure 1. Alma Buscher portrait (1924). Figure 1. Exterior of Maison en bord de mer- E-1027 Cap-Martin,
Figure 2. Toy Closet, Catalogue der Muster, TI 24 (1925). Roquebrune, France.
Figure 3. Toy Closet for the ‘House am Horn’ children’s-room Produced by Figure 2. Interior of Maison en bord de mer- E-1027 Cap-Martin,
the Bauhaus Stone and Woodcarving/Sculpture Workshop. Painted Roquebrune, France.
and enamel wood (large 150 x high 155 x 90 cm). Klassik Stiftung, Figure 3. Eileen Gray portrait.
Bauhaus-Museum, Weimar. 1930
Figure 4. Bauspiel 'Schiff' - 'Ship' Building Toy (1923). Figure 1. Tea Service, (c. 1930). Designed by Margarete Heymann-
1924: Löbenstein-Marks (German, 1899–1990) Manufactured by Haël
Figure 1. Marianne Liebe Brandt self portrait (1929). Werkstätten (Marwitz, Germany, 1923–1934).
Figure 2. Ashtray with Cigarette Holder (1924). Produced by the Bauhaus Glazed ceramic teapot: 5 3/4 °— 8 1/2 °— 3 5/8 in. (14.61 °— 21.59
Metal Workshop, Weimar, Germany. Polished and nickel-plated brass °— 9.21 cm), sugar bowl: 3 1/8 °— 5 °— 2 1/4 in. (7.94 °— 12.7 °— 5.72
(6.7 cm high by 10.7 cm diam.). cm), creamer: 3 5/16 °— 4 7/8 °— 2 1/8 in. (8.41 °— 12.38 °— 5.4 cm),
Figure 3. Ashtray with triangular opening (1924). Polished and chromium- saucers: 5 1/16 °— 6 in. (12.86 °— 15.24 cm), cups: 2 °— 4 1/4 °— 3 5/8
plated brass 6.4 cm high by 10.8 cm diam. Produced by the Bauhaus in. (5.08 °— 10.8 °— 9.21 cm), plates: 3/4 °— 7 1/2 in. (1.91 °— 19.05
Metal Workshop, Weimar, Germany. cm), Milwaukee Art Museum, Purchase, with funds from Dr. and Mrs.
Figure 4. Marianne Liebe Brandt for Bauhaus - Tea Infuser MT 49 (1924). Charles Lightdale in honor of Dr. Frances Marks, M2013.29.1a,b–.16.
Produced by the Bauhaus Metal Workshop, Weimar, Germany. ©John R. Glembin.
1925: Figure 2. Tea service (c. 1930). Designed by Margarete Heymann-
Figure 1. Sylvia Stave portrait. Löbenstein-Marks (German, 1899–1990) Manufactured by Haël
Figure 2. Cocktail shaker Produced by C.G. Hallbergs Guldsmedsaktiebolag Werkstätten (Marwitz, Germany, 1923–1934).
(Stockholm, Sweden) Silver plate and woven wicker (13 x 13 x high Parts of a set: (M2011.17.1a,b; M2011.17.2a,b; M2011.17.3; M2011.17.4a,b;
18,1cm) . M2011.17.5a,b; M2011.17.6a,b; M2011.17.7a,b; M2011.17.8a,b;
Figure 3. Water jug (1930-34) Produced by C.G. Hallbergs M2011.17.9a,b; M2011.17.10-M2011.17.15)
Guldsmedsaktiebolag (Stockholm, Sweden) Silver plate and woven Tea Service, (c. 1930). Glazed ceramic teapot: 5 1/2 °— 10 1/4 °— 6
wicker. 3/4 in. (13.97 °— 26.04 °— 17.15 cm), sugar bowl: 4 °— 6 3/8 °— 5 in.
1926: (10.16 °— 16.19 °— 12.7 cm), creamer: 3 3/8 °— 6 1/2 °— 4 1/2 in. (8.57
Figure 1. Margarete (Grete) Lihotzky Schütte portrait. °— 16.51 °— 11.43 cm), each teacup: 2 3/4 °— 5 1/8 °— 4 1/4 in. (6.99
°— 13.02 °— 10.8 cm), each saucer: 1/2 °— 5 3/8 in. diameter (1.27
Figure 2. Frankfurt Kitchen, 1926 Wood, glass, metal, paint and enamel,
°— 13.65 cm), each plate: 1/2 °— 7 5/8 in. diameter (1.27 °— 19.37 cm),
“U” arrangement on 6,5 m2.
Milwaukee Art Museum, Purchase, by exchange, M2011.17.1a,b–.15.
Figure 3. Frankfurt Kitchen, 1926.
©John R. Glembin.
1927:
Figure 3. Margarete Heymann, 1930-31, ©Herbert Sonnenfeld, Bauhaus-
Figure 1. Elisabeth Scott portrait. Archiv Berlin.
Figure 2. Shakespeare Memorial Theatre at Stratford-upon-Avon. 1931:
©RIBApix.
Figure 1. Innen-Dekoration. Die gesamte Wohnungskunst in Bild und Wort
1928:
– Herausberger Hofrat Alexander Koch. A. XLIII, 1932.
Figure 1. Cover page of the first issue of the Saffa-Newsletter, 25 August
Figure 2. Ruth Hildegard Geyer-Raack: Detail of Lady’s living room
1928, showing an aerial view of the exhibition area.
and bedroom at Dame Internationale Raum- austellung Cologne
Figure 2. Lux Guyer, Bird’s view of the exhibition area, drawing, January (Germany). ©Innen-Dekoration. Die gesamte Wohnungskunst in Bild
1928. und Wort, XLIII: Jan. 1932.
credits of images

Figure 3. Lux Guyer with the students of her School for domestic work, (c. Figure 3. Ruth Hildegard Geyer-Raack portrait.
1940).
1932:
Figure 1. Aino Aalto portrait.
Figure 2. Glassware Produced by Karhula–Iittala company Pressed glass. 1941:
Figure 3. Glassware Produced by Karhula–Iittala company Pressed glass Figure 1. Sideboard Produced in 1951 by Gordon Russell Ltd Victoria &
(Iittala catalogue). Albert Museum (United Kingdom). ©Victoria and Albert Museum,
1933: London, United Kingdom.
Figure 1. Grivita Works. Bucarest, Rumania. Figure 2. Judith Ledeboer portrait.
1934: 1942:
Figure 1. Engineer Sonja Lapajne-Oblak at the construction site of the Figure 1. Panzer Residence Beverly Hills. California, USA. ©Liane Zimbler
National and University Library building, which was constructed Architectural Collection (Ms. 1988-005), Special Collections,
between 1936 and 1941, based on plans by architect Jože Plečnik. University Libraries, Virginia Polytechnic Institute and State
©Lojze Šmuc. University.
Figure 2. Building of Gimnazija Bežigrad High School in 1936. School was Figure 2. Panzer Residence Beverly Hills. California, USA. ©Liane Zimbler
named III. državna realna gimnazija at that time. ©Slovenian School Architectural Collection (Ms. 1988-005), Special Collections,
Museum. University Libraries, Virginia Polytechnic Institute and State
Figure 3. A second floor hall of Gimnazija Bežigrad High School, which University.
illustrates coridorless architectural design. ©UIFS ZRC SAZU. Figure 3. Liana Zimbler portrait.
1935 1943:
Figure 1. Motor Battalion Barracks and Garage, Helsinki, 1935-1938. Figure 1. Interior of a Residence in California. ©Maynard L. Parker,
Source: Museum of Finnish Architecture, Helsinki, Finland. photographer. Courtesy of The Huntington Library, San Marino,
Figure 2. The corner wing, Motor Battalion Barracks and Garage, Helsinki, California.
1935-1938. Source Museum of Finnish Architecture, Helsinki, Finland. Figure 2. Greta Magnusson Grossman portrait.
Figure 3. Marta Martikainen portrait. Source Profiles: 66. 1944:
1936: Figure 1. Restoration plan of the Patronato de Protección de la Mujer 340
Figure 1. Thonet small armchair, 1936 Tubular steel frame and leather. (Board for Women Protection) San Fernando de Henares, Spain.
341
Figure 2. Lilly Reich portrait. Figure 2. Rita Fernández Queimadelos portrait.
Figure 3. Dressing room, 1927. Haus Mies van der Rohe, Weissenhof, 1945:
Stuttgart. Figure 1. Maria José Marques da Silva presenting the final degree project
1937: for college Escola Superior de Belas Artes do Porto (Higher School of
Fine Arts), 1943.
Figure 1. Drawing of the expanding nursery school by Erno Goldfinger and
Mary Crowley. ©RIBApix Figure 2. Palácio do Comércio (Palace of Commerce) Oporto, 1953.
Figure 2. Plan of the expanding nursery school by Erno Goldfinger and Mary Figure 3. Palácio do Comércio (Palace of Commerce) Oporto, 1953.
Crowley. 1946:
Figure 3. Mary Crowley portrait. Figure 1. Sofa. Private collection.
1938: Figure 2. Luisa Aiani Galfetti Parisi. Drawing by Ico Parisi, (c. 1940).
Figure 1. Burgas Casinò. ©Musei Civici di Como.
Figure 2. Burgas Casinò. 1947:
1939: Figure 1. Eva Koppel, Chair of stained beech frame with original yellow-
green checkered woven upholstery, 1947.
Figure 1. Alexandra Paschalidou-Moreti 2014. ©Archive of George
Zongolopoulos Foundation. Figure 2. Eva Koppel portrait (c. 1950).
Figure 2. Greece Pavilion 1939, New York, USA. ©Arie van Dort. 1948:
1940: Figure 1. Lastenlinna Children’s Hospital, Helsinki, 1938-1948. ©Museum of
Finnish Architecture, Helsinki, Finland.
Figure 1. Susie Cooper portrait.
Figure 2. Detail of the top floor of the children’s wing, Lastenlinna
Figure 2. Kestrel tea set. ©Amgueddfa Cymru-National Museum Wales.
Children’s Hospital, Helsinki, 1938-1948. ©Museum of Finnish
Architecture, Helsinki, Finland.
 Figure 3. Plan of the complex, Lastenlinna Children’s Hospital, Helsinki, 1957:
1938-1948. ©Museum of Finnish Architecture, Helsinki, Finland. Figure 1. Lina Bo Bardi portrait.
Figure 4. Elsi Borg selfportait, ‘private enterprise in the 1920s’ source Figure 2. Lina Bo Bardi: MASP, 1968, interior of the building.
Profiles, p. 48. Figure 3. Lina Bo Bardi: MASP, 1968.
1949: 1958:
Figure 1. Free-Hanging Room Divider, 1949 Cotton, cellophane, and Figure 1. The SAFFA exhibition on the Zurich lake shore, with the new
braided horsehair (high 221 x large 82.5 cm). created island, the exhibition pavilions and the tower, 1958.
Figure 2. Anni Albers portrait. Figure 2. The SAFFA exhibition tower in Zürich, designed by Annemarie
Figure 3. Free-Hanging Room Divider, 1949. Handwoven jute and lurex Hubacher Constam, 1958.
(high 134.6 x large 86.3 cm). Figure 3. Annemarie Hubacher Constam, the chief architect of SAFFA 1958
1950: with her assistant, the architect Anna Cordes-Meyer.
Figure 1. Primavalle Market. 1959:
1951: Figure 1. Nanna on the Beach Dronning Mølle, 2004. ©Edan Ditzel-Finn.
Figure 1. Spaziale (C33). Museo Internazionale Design Ceramico - Civica Figure 2. Dennie in Egg Chair 1959. ©K. Helmer-Petersen.
Raccolta di Terraglia, Laveno-Mombello (VA). Figure 3. Jørgen in Egg Chair Dyrehaven, 1959. ©K. Helmer-Petersen.
Figure 2. Service C205, made by SCI, 1953. ©Museo Internazionale Design 1960:
Ceramico - Civica Raccolta di Terraglia, Laveno-Mombello (VA). Figure 1. Grete Jalk unknown date source: Lange Productions.
Figure 3. Antonia Campi portrait. ©Oscar Colli. Figure 2. Grete Jalk Scandinavian Modern Teak Chairs for France and Son
1952: unknown date. ©Arne Jennard.
Figure 1. San Lorenzo Treasure Museum (Museo del Tesoro di San Lorenzo) Figure 3. Grete Jalk Scandinavian Modern Teak Chairs for France and Son
San Lorenzo Cathedral, Genova (Italy), From Casabella 213 (1956). unknown date. ©Arne Jennard.
Figure 2. Franca Helg, Primavera chair, 1967, produced by Bonacina, Como, Figure 4. Grete Jalk Scandinavian Modern Teak Chairs for France and Son
Italy (courtesy Bonacina, Como, Italy). unknown date. ©Arne Jennard.
Figure 3. Franca Helg portrait. Figure 5. Grete Jalk Scandinavian Modern Teak Chairs for France and Son
1953: unknown date. ©Arne Jennard.
Figure 1. University of Ibadan, Nigeria. © RIBApix. 1961:
Figure 2. Jane Drew portrait. © Jorge Lewinsky. National Portrait Gallery. Figure 1. Teresa Kruszewska. Source: Amadei, Discovering Women, 76.
1954: Figure 2. Reversible child's armchair in a set at the University Children's.
Figure 1. Main entrance. Source: Velyakov, V. (ed.). Sanatoriy “Novye Hospital in Krakow - Prokocim Source: http://designitpoland.
Sochi”, Moscow: Gospolitizdat, 1962. com/2328/teresa-kruszewska-architekt-wnetrz-tworczosc.html;
Figure 2. Left wing. Source: Velyakov, V. (ed.). Sanatoriy “Novye Sochi”, photo from Teresa Kruszewska private archive.
Moscow: Gospolitizdat, 1962. Figure 3. Reversible child's armchair. Source: http://culture.pl/en/
Figure 3. Gallery Source: Velyakov, V. (ed.). Sanatoriy “Novye Sochi”, gallery/teresa-kruszewska-furniture-for-children-gallery. Collection
Moscow: Gospolitizdat, 1962. of the National Museum in Warsaw. © Michał Korta.
1955: 1962:
Figure 1. Cattolica Assicurazioni Skyscraper (now: NH Hotel), Naples. Figure 1. Nataša Štupar Šumi during reconstruction works on the northern
Figure 2. Cattolica Assicurazioni Skyscraper (now: NH Hotel), Naples. palatium of Rihemberk castle. ©Ministry of Culture, INDOK centre,
1956: photographer Jože Gorjup, 1985.
Figure 1. House of the Future. © Courtesy of the Frances Loeb Library. Figure 2. Rihemberk castle from the North-West: a view from the air.
Harvard University Graduate School. ©Ministry of Culture, INDOK centre, photographer Stane Klemenc,
credits of images

1992.
Figure 2. House of the Future. © Courtesy of the Frances Loeb Library.
Harvard University Graduate School. Figure 3. Restoration of one of the guard-posts, before and after. ©
Slovene Ministry of Culture, INDOK Centre.
Figure 3. Alison Smithson portrait.
Figure 4. Plan of the Rihemberk Castle.
1963: 1969:
Figure 1. Nives Kalin Vehovar and France Vehovar: Conifer Cone Pendant Figure 1. Maria Helena Matos, portrait. May, 8, 2014 IADE-U. ©Pedro
Light, from the NKVFV series, 1963. ©Janez Kališnik. Personal archives Rodrigues.
of Vehovar family. Figure 2. Japão Service. ©Digital Place, Jorge Soares in Maria Helena
Figure 2. Nives Kalin Vehovar and France Vehovar: Pendant Light, from the Matos, Retrospectiva Catalogue.
NKVFV series, 1963. ©Janez Kališnik. Personal archives of Vehovar family. 1970:
Figure 3. Nives Kalin Vehovar and France Vehovar: Hotel Resort Interior Figure 1. Nanda Vigo, Golden Gate floor lamp, 1970, produced by
with NKVFV Pendant Lights, Čateške Toplice, 1965. ©Janez Kališnik. Arredoluce, ©Nanda Vigo Archives.
Personal archives of Vehovar family.
Figure 2. Nanda Vigo, Golden Gate floor lamp, stand Arredoluce at
Figure 4. Nives Kalin Vehovar. Personal archives of Vehovar family. ‘Eurodomus 3’ exhibition, Milan 1970, ©Nanda Vigo Archives.
1964: Figure 3. Nanda Vigo portrait. ©Ruven Afanador, Nanda Vigo Archives.
Figure 1. Abraham and Rol portrait (c. 1963). 1971:
Figure 2. Prototype of a Summer Home shown at Le Printemps department Figure 1. Cini Boeri portrait.
store. 1964.
Figure 2. Serpentone (1971) Produced by Arflex (Italy) Polyurethane foam
Figure 3. Rattan Chair by Janine Abraham Dirk Jan Rol, France (1960). Arflex catalogue.
1965: Figure 3. Serpentone (1971) Produced by Arflex (Italy) Polyurethane foam
Figure 1. Ivanka Raspopović and Ivan Antić, The Museum of Contemporary Arflex catalogue.
Art in Belgrade (1965). ©Aleksandra Ilijevski, 2016. 1972:
Figure 2. Ivanka Raspopović and Ivan Antić, The Museum of Contemporary Figure 1. Blaženka Kučinac portrait.
Art in Belgrade (1965), interior. ©Branibor Debeljković, 1965 (F 4945-
Figure 2. Children's Bedroom Furniture “Pipi”.
60) National Library of Serbia, Belgrade.
Figure 3. Children's Bedroom Furniture “Pipi”.
Figure 3. Ivanka Raspopović portrait. 342
Figure 4. Children's Bedroom Furniture “Pipi”.
Figure 4. Ivanka Raspopović and Ivan Antić, The Museum 21 October 343
(1976), Memorial Park Kragujevački Oktobar in Šumarice, Kragujevac. 1973:
©Aleksandra Ilijevski, 2015. Figure 1. 'Pioneer' Sports Hall, general view. ©Vladana Putnik.
1966: Figure 2. 'Pioneer' Sports Hall. ©Vladana Putnik.
Figure 1. Maria Theresa Parpagliolo Shephard portrait. Figure 3. 'Pioneer' Sports Hall. ©Ljiljana and Dragoljub Bakić.
Figure 2. Hall Garden. Figure 4. Ljiljana Vučović Bakić portrait. ©Ljiljana and Dragoljub Bakić.
Figure 3. Hall Garden. 1974:
1967: Figure 1. Sigrid Kressmann-Zschach, Steglitzer Kreisel, Berlin (Germany).
Figure 1. Anna Ferrieri Castelli portrait. Figure 2. Architect Sigrid Kressmann-Zschach in 1974 facing the outcome
Figure 2. Componibili modular systems (1967) Produced by Kartell (Milan, of the report of the Berlin Senate. Photo Ullstein Bild. Reproduced
Italy) Acrylonitrile-Butadiene-Styrene (Kartell catalogue). in the Berliner Morgenpost, 01 December 2015, from Regina
Stürickow, Skandale in Berlin. Berlin: Elsengold Verlag, 2015.
Figure 3. Componibili modular systems (1972) Produced by Kartell (Milan,
Italy) Acrylonitrile-Butadiene-Styrene (Kartell catalogue). 1975:
1968: Figure 1. Charlotte Perriand portrait.
Figure 1. Jadwiga Grabowska-Hawrylak unknown date and place. Figure 2. Prefabricated Bath Unit Polyester and Fiberglass Shell, Ceramic
©Jadwiga Grabowska-Hawrylak personal archive. and Chrome-plated Brass 1975-1978.
Figure 2. Residential Building by Jadwiga Grabowska-Hawrylakowa, Figure 3. Prefabricated Kitchen unit Polyester and Fiberglass 1975-1978.
1960s. Poland, Wroclaw (Breslau), plac Grunwaldzki. 2001/2002. 1976:
©Shaqspeare. Figure 1. Tower Restaurant Steglitz Berlin.
Figure 3. One of the skyscrapers in the final stages of construction 1970-73 Figure 2. Ursulina Witte Schüler & Ralf Schüler, International Congress
Grunwaldzkim, Wroclaw, source: Wratislaviae Amici http://dolny- Centrum (ICC), 1973-79, Berlin.
slask.org.pl. Figure 3. Ursulina Schüler Witte portrait. ©Reto Klar.
 1977: Figure 2. Architect Ol'ga Ondreičková in front her own family house,
Figure 1. Lucie Q. Bakker working at Tichlaar in Makkum, circa 1975. Bratislava ©Olja Triaška Stefanovič.
©Keramisch Museum Goedewaagen, Nieuw-Buinen, at http://www. Figure 3. Telecommunication building, High Tatras, 1970. ©Rajmund
capriolus.nl/nl/content/bakker-lucie-q, accessed April 28, 2015. Müller.
Figure 2 (a, b, c). Lucie Q. Bakker, Quirina tableware produced by Royal 1984:
Tichelaar ceramics factory in Makkum, Friesland, Netherlands. Figure 1 (a, b, c). Figure 3 Communist Party Regional Committee offices,
Between 1968 and 1978. Žilina.
1978: Figure 2. Architect Viera Mecková in front of the Communist Party Regional
Figure 1. Nel Verschuuren, Bench and interior for the main hall of Murtala Committee offices, Žilina. ©Olja Triaška Stefanovič.
Muhammed Airport, Lagos (Nigeria), 1978. ©Het Nieuwe Insituut 1985:
Rotterdam, Netherlands. Archives Verschuuren. Figure 1. Emerald Sideboard, 1985 Nathalie Du Pasquier Plastic laminate,
Figure 2. Nel Verschuren in office. ©Het Nieuwe Insituut Rotterdam, wood and mirror Produced by Memphis Milano.
Netherlands. Archives Verschuuren. Figure 2. Royal (sofa), 1983 Nathalie Du Pasquier Plastic laminate and
1979: fabric upholstery chaise Produced by Memphis Milano.
Figure 1. Hildegard Auf Franić. ©Hildegard Auf Franić Archive. Figure 3. Nathalie Du Pasquier portrait. ©Roberto Baldassare
Figure 2. With its wings, the faculty building embraces the ‘open forum’. photographer, AD Germany, March-April 2011.
©Hildegard Auf Franić Archive. 1986:
Figure 3. The “L” shaped ground plan differs from the urban rule set before Figure 1. Gae Aulenti portrait.
with other slabs-shaped faculty buildings placed symmetrical to an Figure. 2. Orsay Museum (2010) Paris, France.
north-south axis ©Hildegard Auf Franić Archive. Figure 3. Orsay Railway Station (1900) Paris, France.
Figure 4. Additional slab was done in 2003 that remedied the missing 1987:
forum for outdoor activities. ©Hildegard Auf Franić Archive.
Figure 1. Hanne Kjaerholm, Summer House at Laeso, 1987. Photo at
1980: https://scontent.cdninstagram.com/, accessed April 28, 2016.
Figure 1. Simone Guillissen-Hoa, née Hoa portrait (c.1950). Figure 2. Hanne Kjaerholm, 1969. Photo at http://www.metropolismag.
Figure 2. Community Arts Centre Tournai 1980. com/December-1969/Accommodating-Spaces/, accessed April 28,
1981: 2016.
Figure 1. Vasa Museum Source: https://en.wikipedia.org/wiki/Vasa_ 1988:
Museum#/media/File:Vasamuseet_2008.jpg, ©Holger Ellgaard. Figure 1. Verena Dietrich portrait.
Figure 2. Interior of the Vasa Museum Source: https://en.wikipedia.org/ Figure 2. Höhenberg Sportspark spectator tribune, rear view.
wiki/Vasa_Museum#/media/File:Vasa_Museum_interior1.jpg, ©Peter Figure 3. Höhenberg Sportspark spectator tribune model Deutsches
Isotalo. Architekturmuseum.
Figure 3. Interior of the Lund Konsthall Source: http://www.flickr.com/ 1989:
photos/aiert/2534381344/, ©Aiert Buruaga
Figure 1. Andrée Putman portrait.
1982:
Figure 2. Commission des Droits de l’Homme Paris Arche de la Défense
Figure 1. Teresa Nunes da Ponte portrait. Arquitectos Agora (Architects 1989.
Now) Award 2015. Source: Interview to Teresa Nunes da Ponte |
Figure 3. Commission des Droits de l’Homme Paris Arche de la Défense
Arquitectos Agora 2015 Award (Ordem dos Arquitectos - Secção
1989.
Regional Sul).
1990:
Figure 2. Plan of the residential complex Toca da Areia 1982 / 1990.
©Teresa Nunes da Ponte, arquitectura. Figure 1. Edith Girard portrait.
Figure 3. Residential complex Toca da Areia 2005. ©Teresa Nunes da Figure 2. Apartment Building and Theater - 108-118 rue du Chevaleret.
credits of images

Ponte, arquitectura. Figure 3. Apartment Building and Theater - 108-118 rue du Chevaleret.
1983: Figure 4. Apartment Building and Theater - 108-118 rue du Chevaleret.
Figure 1 (a, b, c). District post office, Prague.
1991: Figure 2. Apartment Building, Paris 70-78, rue Leblanc, 75015.
Figure 1. Francine Houben. Photo at http://www.architectuurinrotterdam. Figure 3. Apartment Building, Paris 70-78, rue Leblanc, 75015.
nl/architect.php?architectid=7&lang=nl, accessed April 28, 2016. 1999:
Figure 2. Francine Houben, House with Studio, Kralingse Plaslaan, Figure 1. Irena Bajerska portrait. ©Irena Bajerska Archive.
Rotterdam, Netherlands, 1991. Photo at http://www.mecanoo.nl/ Figure 2. Rooftop garden 2014. ©Ola Synowiec.
Projects/project/24/House-with-Studio?t=0, accessed April 28, 2016. Figure 3. Rooftop garden unknown date. ©Ildiko Rusvai.
Figure 3. Francine Houben, House with Studio, Kralingse Plaslaan, Figure 4. Top view of rooftop garden unknown date. ©Irena Bajerska Archive.
Rotterdam, Netherlands, 1991. Photo at http://www.mecanoo.nl/
2000:
Projects/project/24/House-with-Studio?t=0, accessed April 28, 2016.
Figure 1 (a, b). Extension of Youth Music School, Hamburg. ©Miralles/
Figure 4. Francine Houben, House with Studio, Kralingse Plaslaan,
Tagliabue-EMBT.
Rotterdam, Netherlands, 1991. Photo Arjan Bronkhorst for ‘Het
huis van Houben’, FD 19 September 2015, online at http://fd.nl/fd- Figure 2. Extension of Youth Music School, Hamburg. ©Miralles/Tagliabue-
persoonlijk/1119043/het-huis-van-houben, accessed April 28, 2016. EMBT.
1992: Figure 3. Benedetta Tagliabue portrait. ©Vicens Giménez.
Figure 1. Patricia Leboucq portrait. 2001:
Figure 2. Apartment Building 67, rue du théâtre Paris, 1992. Figure 1. Odile Decq portrait (2015).
Figure 3. Apartment Building 67, rue du théâtre Paris, 1992. Figure 2. Rome’s Museum of Contemporary Art – MACRO, exterior view.
Figure 4. Apartment Building 67, rue du théâtre Paris, 1992. Figure 3. Rome’s Museum of Contemporary Art – MACRO, interior view.
1993: 2002:
Figure 1. Zaha Hadid portrait (2010). Figure 1. Fjord chair. ©Studio Urquiola.
Figure 2. Vitra Fire Station, exterior view. ©Caterina Franchini, authorised Figure 2. Patricia Urquiola portrait. ©Marco Craig, Studio Urquiola.
for publication. 2003: 344
Figure 3. Vitra Fire Station, interior view. ©Caterina Franchini, authorised Figure 1. Catarina Raposo portrait. ©Catarina Raposo.
345
for publication. Figure 2. Water gardens. © Leonardo Finotti.
1994: Figure 3. Volcano Pavilion and water gardens. © Leonardo Finotti.
Figure 1. West India Quay Bridge. London London Docklands, London, 2004:
England, UK, designed by Future Systems. ©Steve Cadman. Figure 1. Lughansa Garden by Airshots. ©Brigit’s Garden.
Figure 2. Amanda Levete portrait. Figure 2. Brigit’s Garden plan. ©Brigit’s Garden.
1995: Figure 3. Samhain Garden Island. ©Brigit’s Garden.
Figure 1. Faraday chair. ©Fiona Raby. Figure 4. Mary Reynolds portrait. ©Claire Leadbitter.
Figure 2. Fiona Raby and Anthony Dunne portrait. ©Getty Images. 2005:
1996: Figure 1. Gunilla Svensson portrait.
Figure 1. Laura Carducci portrait. Figure 2. Apartment building Kv Skötaren, southern facade Lund, Sweden.
Figure 2. Ecole maternelle Jean de la Fontaine à Mitry- Mory. Figure 3. Apartment building Kv Skötaren, northern facade Lund, Sweden.
Figure 3. Ecole maternelle Jean de la Fontaine à Mitry- Mory. 2006:
Figure 4. Ecole maternelle Jean de la Fontaine à Mitry- Mory. Figure 1. Mare de Deu del Port building. © Roland Halbe.
1997: Figure 2. Mare de Deu del Port interior. © Roland Halbe.
Figure 1. Judith Rataitz portrait. ©Judith Rataitz. Figure 3. Blanca Lleó portrait. © Blanca Lleó.
Figure 2. Cold food table set, brunch container. ©Judith Rataitz. 2007:
Figure 3. Cold food table set, dining plate set. ©Judith Rataitz. Figure 1. Manuelle Gautrand portrait.
Figure 4. Cooling Containers for butter. ©Judith Rataitz. Figure 2. Citroën Show-Room 42, avenue des Champs-Elysées.
1998: Figure 3. Citroën Show-Room 42, avenue des Champs-Elysées.
Figure 1. Catherine Furet portrait.
 2008: 2015:
Figure 1. Inês Lobo portrait. ©Autónoma University. Figure 1. Sinnerlig Collection. Produced by IKEA.
Figure 2. Francisco Rodrigues Lobo High School, unknown date. ©Leonardo Figures 2. Ilse Crawford portrait. ©Leslie Williamson.
Finotti. 2016:
Figure 3. Francisco Rodrigues Lobo High School, unknown date.©Leonardo Figure 1. Marlies van Dullemen, 2016. Photo courtesy Marlies van Dullemen.
Finotti. Figure 2. npk design, Leiden, Netherlands. MAPle® for Novuqare, 2015.
2009: Photo courtesy npk design.
Figure 1. Lyric Theatre, Belfast, Ireland. Figure 3. npk design, Leiden, Netherlands. Nightwatch for Livassured, 2016.
Figure 2. Sheila O’Donnell portrait. ©RIBApix. Photo courtesy npk design.
2010: 2017:
Figure 1. Christine Conix portrait. Figure 1. Gardunya Square, Barcelona. © Josep Losada.
Figure 2. European and Belgium Pavilion, The Brain Cell. Shangai 2010 Figure 2. Carme Pinós portrait. © Miquel Tres.
World Fair.
Figure 3. European and Belgium Pavilion, The Brain Cell. Shangai 2010
World Fair.
2011:
Figure 1. Eva Jiřična portrait. Courtesy by: Eva Jiricna Architects Ltd London
& AI Design s. r. o Prague. ©Peter Cook.
Figure 2. Zlín Culture and Congress Centre. Courtesy by: Eva Jiricna
Architects Ltd London & AI Design s. r. o Prague. ©Richard Davies.
Figure 3. Main entrance into the Culture and Congress Centre. Courtesy by:
Eva Jiricna Architects Ltd London & AI Design s. r. o Prague. ©Richard
Davies.
Figure 4. Central Hall. Courtesy by: Eva Jiricna Architects Ltd London & AI
Design s. r. o Prague. ©Richard Davies.
Figure 5. Detail of the façade. Courtesy by: Eva Jiricna Architects Ltd
London & AI Design s. r. o Prague. ©Richard Davies.
2012:
Figure 1. Liana Nella-Potiropoulou portrait. Source: Potiropoulou+Partners
website.
Figure 2. Maroussi, Athens, Greece. ©Charalambos Louizidis.
Figure 3. Maroussi, Athens, Greece. ©Charalambos Louizidis.
2013:
Figure 1. Kostantia Manthou portrait. ©Kostantia Manthou archive.
Figure 2. Royal Ceramica’s pavilion, Cersaie 2013. ©Stefano Stagni and
Marco Marchetta.
Figure 3. Royal Ceramica’s pavilion, Cersaie 2013. ©Stefano Stagni and
Marco Marchetta.
2014:
Figure 1 (a, b, c). Helga Snel and Jeanne Dekkers, Exterior of the Care
credits of images

Centre Tamarix, Heerhugowaard, Netherlands, 2014. Photo courtesy

Helga Snel architects.
Figures 2 and 3. Helga Snel and Jeanne Dekkers. Photo courtesy architects.
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 Index of Women Architects, Civil Engineers
and Designers
A
Aalto, Aino (see Marsio Aalto, Aino Maria) Blanco White, Margaret Justin 230
Abraham Roll, Janine 114, 115, 343 Bo Bardi, Lina 100, 101, 228, 342, 353, 355, 359
Aiani Galfetti Parisi, Luisa 79, 247, 253, 341 Bocsanhi, Renée 296
Akerdahl Balsamo Stella, Anna 215 Boeri, Cini (see Mariani Dameno Boeri, Maria Cristina)
Albers, Anni (see Fleischmann Albers, Anneliese) Bofill, Anna 263
Alberti, Eugenia 253, 348 Bončić Katerinić, Jovanka 259, 260, 261, 338
Allodi, Daniela 233 Borg, Elsi Naemi 83, 342
Alt Mazza, Zita 252 Bortolotti Casoni, Maria 226
Amadó i Cercós, Roser 233, 263 Bos, Caroline 242
Andreescu Haret, María Virginia 227 Braunwald Chaussemiche, Agnès 269
Andreotti, Manuela 296 320 Brender Rubira, Margarita 230
Andrés Conde, Maria del Carmen 231 Briem Ek, Halldora 257
Angelova Vinarova, Victoria 62, 63, 226, 341, 358, 359 Brooks, Alison 242
Arokallio, Elsa 83 Bruin, Dirry de 291, 294, 352
Arregui, Elena 263 Bugarski, Vesna 230
index of women architects, civil engineers and designers

Auf Franić, Hildegard 145, 344, 368 Bursi, Ada 253, 348
Aulenti, Gae 158, 159, 247, 338, 344, 357, 361 Buscher Siedhoff, Alma 32, 33, 340, 356, 359
Aynard Putman, Andrée Christine 165, 345, 357, 358
C
B Calzolari, Vittoria Maria 252
Bahnson, Elise 256 Campi, Antonia 89, 251, 342, 357, 359
Bajerska, Irena 184, 185, 345, 355, 368 Campi, Elena 251, 254
Bakker, Lucie Quirina 140, 141, 344, 355, 360 Campos de Michelena, Pascuala 262
Bardelloni, Cristina 18, 235 Campos Piera, Elena 296
Bauman, Irena 242 Carducci, Laura 179, 345
Beecher, Catharine 251 Carstensen Meyer, Sonja 256
Beese Stam, Lotte 286 Castelnau Tastemain, Éliane 268, 338
Beha, Ann 242 Castiglioni, Luisa 252
Bernal, Gemma 273, 276, 353 Cheti, Fede 252, 253, 255
Bessirard Fratacci Jeanne 269 Chiaretta, Vanna 253
Besson Surugue, Jeanne 267, 269 Clemmensen, Karen 229
Blaisse, Petra 292, 294, 399, 350, 357 Conix, Christine 206, 207,346, 357
Blanchard Bethune, Louise 239 Constam Hubacher, Annemarie 102, 103, 342
Contessi, Barbara 296 Fischer Zimbler, Juliana (Liane) 70, 71, 226, 341
Cooper, Susan (Susie) 66, 67, 341, 351, 361 Fisher, Helénè 253
Cortesão, Inês 328 Fleischmann Albers, Anneliese (Anni) 84, 85, 342, 351, 360
Cotescu, Maria 53 Flögl, Mathilde 249
Couture, Lise Anne 242 Fondra Asti, Elena 252
Crasset, Matali 290, 294, 339, 351, 355 Frederick, Christine 251
Crawford Steiger, Flora 226 Furet, Catherine 182, 183, 345, 349, 351, 353
Crawford, Ilse 216, 217, 346, 351
Crowley Medd, Mary 60, 61, 341 G
Galí, Elisabeth (Beth) 273, 276, 349
Č Garda, Emilia 2, 4, 6, 8, 222, 296, 297, 352
Čolak Antić Krstić, Milica 259, 260, 261, 338, 360 Gatt Stave, Sylvia 37
Gautrand, Manuelle 200, 201, 281, 346, 350, 353, 355
D Geisendorf, Léonie 229
Dahlbäck, Marianne 149, 352 Gill Smithson, Alison Margaret 99, 342
Dam Kjaerholm, Hanne 161, 344, 348, 353, 354 Girard, Edith 166, 167, 345, 350, 352
Davydovna Katsenelenbogen, Tamara 95 Gonzalo Pintor, María Cristina 262, 263
Decq, Odile 188, 189, 233, 242, 281, 345, 351, 355 Gorska, Adrienne 227, 269
Dekkers, Jeanne 215, 346, 354 Gourary Roque, Judith (Dita) 18, 231
Demeetriyevna Oosava, Lyubow 228 Grabowska Hawrylak, Jadwiga 122, 123, 343
Deu, Živa 235 Grassi, Liliana 253, 348 362
Dietrich, Verena 163, 345, 350, 352 Gray, Eileen 45, 165, 340, 348, 352 363
Diller, Elizabeth 242 Grisogono, Ksenija 260
Ditsleven Koppel, Eva 81, 229, 341, 351 Griziotti, Laura 232
Donaldson Buchanan, Dorothy 226 Grubb, Ragna 227
Drew, Jane 93, 189, 209, 342, 354 Gueden, Colette 250, 254, 358
Du Pasquier, Nathalie 157, 344, 349, 368 Gullichsen, Maire 51
Dullemen, Marlies van 219, 346, 368 Guyer, Louise (Lux) 42, 43, 340, 351
Dumengjić, Zoja 260
H
E Haak, Annet 291, 339
Eizenberg, Julie 242 Hadid, Zaha 17, 172, 173, 234, 235, 242, 345, 353, 354
Ericson, Estrid 250, 254 Halsband, Frances 242
Esposti, Vincenza 253, 255, 348 Hans, Ineke 290, 294, 339, 354
Hansen, Lilla 257, 338
F Hariri, Gisue 242
Fagotto, Fulvia 18, 235 Harrington, Selma 235
Fairbanks, Merrill Elam Karen 242 Harrison, Jane 242
Fernández Queimadelos, Rita 75, 262, 263, 264, 265, 341, 351, 352 Hasegawa, Itsuko 242
Ferrieri Castelli, Anna 91, 121, 232,247, 253, 343, 351, 356 Hauberg Ditzel, Nanna 105, 342, 354, 359, 360
Filo Speziale, Stefania 97, 350, 353 Hauswald, Kerstin 192
Hauxner, Malene 234
 Hawkinson, Laurie 242 L
Hawley, Christine 242 Lacourrière, Adrienne 267, 338
Hayden Bennett, Sophia 239 Lage de la Fuente, Maria Francisca 234
Helfand, Margaret 242 Lange, Laura 18
Helg, Franca 91, 247, 342, 357 Lapajne Oblak, Sonja 54, 55, 341
Heron, Katharine 242 Laron, Eve 242
Heymann Marks Löbenstein, Margarete (Grete) 47, 349, 354 Leboucq, Patricia 170, 171, 345
Hoa Guillissen, Simone 146, 147, 344 Ledeboer, Judith 61, 68, 69, 341
Hogenboom, Katja 292, 294, 339, 354 Levete, Amanda 174, 175, 234, 345, 360
Hopkins, Patty 242, 368 Levi, Lyda 253
Hornborg, Signe 239, 244, 256 Liakka, Sirkka 227
Houben, Francine 169, 286, 345, 349, 354, 356 Liebe Brandt, Marianne 35, 340
House, Cathi 242 Lihotzky Schütte, Margarete (Grete) 39, 340
Hughes, Edith 227 Likarz, Maria 249
Lleó, Blanca 199, 346, 355, 368
I Lobo, Inês 202, 203, 288, 289, 339, 346, 349
Ilardi, Vittoria 18 Longhurst, Margaret 228
Ilić, Ružica 260 Lönn, Wivi 229, 256
López Muller, Cruz 263
J Lous-Mohr Branzell, Anna 256
Jalk, Grete 106, 107, 342 Lundgren, Tyra 250, 254, 348
Jansana, Imma 296, 322 Luzzatto Valentini, Elena 86, 87, 239
Jiřičná, Eva 208, 209
Jobs, Gocken 250 M
index of women architects, civil engineers and designers

Jobs, Lisbet 250 Magnusson Grossman, Greta 73, 227, 252, 255, 341, 356, 359
Johansson Pape, Lisa 250 Mahony Griffin, Marion 239, 242, 361
Jongerius, Hella 290, 294, 339 Manthou, Kostantia 212, 213, 346, 352, 355, 359
Jongstra, Claudy 292, 294 Mariani Dameno Boeri, Maria Cristina (Cini) 128, 129, 232, 343, 349, 350
Jourda, Françoise Hélène 279, 280, 281, 282, 283, 339, 353, 354, 358 Markelin, Ulla 239, 242, 356
Jovanović, Desanka 260 Marques da Silva, Maria José 76, 77, 341, 353
Marquina, Elena (Nani) 273, 274, 276, 338, 351, 357, 368
K Marsio Aalto, Aino Maria 50, 51, 228, 247, 340, 355
Kalin Vehovar, Nives 112, 113, 343, 359 Martikainen Ypyä, Martta 56, 57, 341
Kerr, Kathy 209 Mathé, Juliette 269
Kira, Moriko 13, 284, 285, 286, 287, 339, 348, 356, 360, 368 Matos, Maria Helena 13, 125, 277, 278, 338, 343, 358
Kojić, Danica 260, 261 McDonald, Frances 245
Kolatan, Sulan 242 McDonald, Margaret 245
Kottler Vurnik, Helena 30, 31, 339, 354, 361 McLeod, Mary 239
Kropholler Staal, Margaret 24, 25, 339, 349, 355 McQuaid, Matilda 239, 242, 356
Kruszewska, Teresa 108, 109, 342, 355 Mendizábal, Margarita 263
Kuhlefelt Ekelund, Eva 83 Meyer, Erna 251
Kuyken, Maria Cornelia (Marie) 28, 29, 339, 350 Meyers, Victoria 242
Minić, Jelena 259, 260, 261, 356 Reynolds, Mary 194, 195, 346, 358, 368
Moray Smith Gray, Kathleen Eileen (see Gray, Eileen) Riera, Mireia 235
Morgan, Julia 17, 264, 266 Robutti, Emma 249, 254, 348
Morrison Irwin, Harriet 239 Roel, Lise 230
Rosa, Alda 278
N Rottenberg, Ena 250
Načić, Jelisaveta 226, 258, 259, 260, 261
Nella Potiropoulou, Liana 211, 346, 368 S
Nunes da Ponte, Teresa 150, 151, 288, 289, 339, 344, 351, 360 Saarinen Swanson, Eva Lisa (Pispian) 247
Sampe, Astrid 250
O Sand, Kirsten 257
O’Donnell, Sheila 204, 205, 346, 357 Saunt, Deborah 234
Ontañón, María Juana 263, 264 Schneiders, Arlette 233
Scholl, Inge 243
P Scott Brown, Denise 17
Parpagliolo Shephard, Maria Teresa 118, 119, 251, 254, 343, 357 Scott Whitworth, Elizabeth 40, 41, 69, 340, 351
Paschalidou Moreti, Alexandra 65, 341 Sejima, Kazuyo 17, 242
Pasquinelli Peressutti, Emma 252, 255, 348 Serra Barenys, Mercedes 263, 264
Pastore, Roberta 296, 316 Servetto, Mara 235
Pavlović, And̄elija 260 Sigurdardotti Anspach, Högna 257, 338
Perani, Francesca 296, 297, 304, 306, 308 Sironi, Maria Grazia 232, 233 364
Pérez Clemente, María Eugenia 263 Sleigh, Alison 41 365
Pericoli, Giovanna 251 Snel, Helga 215, 346, 349
Perriand, Charlotte 136, 137, 228, 239, 242, 253, 255, 344, 348, 349, 351, 356 Sovani, Caterina 296
Pinna, Michela 212 Spear, Laurinda 242
Pinós, Carme 220, 221, 242, 246, 351, 357, 360, 368 Staroveški Kučinac, Blaženka 131, 343
Pittoni Tosoni, Anita 249, 254, 350, 358 Stephen Bell, Vanessa 240
Pizzinini, Regina 242 Stölzl, Adelgunde (Gunta) 26, 27, 226, 339, 359
Ponti Bonicalzi, Lucia 252, 255, 348 Strada, Emma 18
Prytz Kittelsen, Margrethe (Grete) 229 Svensson, Gunilla 196, 197, 346, 353, 368

R Š
Raack Geyer, Ruth Hildegard 48, 49, 340, 353 Šantel Kanoni, Dušana 227, 260
Rabenius Larsson, Lena 250 Škvarková Ondreičková Ol’ga 153
Raby, Fiona 176, 177, 345, 352, 368 Štarková Mecková, Viera 154, 155, 344, 359
Raposo, Catarina 192, 193, 345, 349, 358, 368 Štupar Šumi, Nataša 110, 111, 343, 359
Raspopović, Ivanka 116, 117, 343, 354
Rataitz, Judith 181, 345, 368 T
Rath, Marianne 250 Taborda, Claudia 193
Reed, Ruth 235 Tagliabue, Benedetta 186, 187, 273, 274, 276, 345, 352, 356, 358
Reich, Lilly 58, 59, 239, 242, 246, 248, 341, 353, 356 Terk Delaunay, Sonia 22, 23, 240, 339, 350, 356, 358
Reis, Cristina 278 Thomson, Anna Lisa 250
 Tillner, Silja 234 Vriesendorp, Madelon 286
Todorović, Ljubica 260 Vućović Bakić, Ljiljana 133
Toivola, Miria 278 Vurnik, Helena (see Kottler Vurnik, Helena)
Toor, Anita 71
Tournon Branly, Marion 269 W
Triller, Ingrid 250 Wenyu, Lu 17
Trivulzio Belgiojoso, Cristina 91 West, Jane 252
Tsien, Billie 242 White, Laura 266
Tynell, Helena 250 Wieselthier, Valerie (Vally) 250
Wigglesworth, Sarah 242
U Wijst, Marijke van der 290, 291, 294, 339, 350
Ucelay Maórtua, Matilde 227, 262, 263, 265, 352, 358, 360 Witte Schüler, Ursulina 138, 139, 344, 360
Umemot, Nanako 242 Wolfe, Elsie de 240, 244, 245, 247, 352, 359
Úrcula, Lali 263 Wood, Debora 239
Urquiola, Patricia 190, 191, 273, 274, 275, 276, 338, 345, 355, 356, 357, 360,
368 Y
Yamada, Estuko 284
V
Vannini, Cristiana 296 Z
Varg, Inga 232 Zeisel, Eva 234
Verschuuren, Nel 142, 143, 285, 287, 344, 354, 360 Zenghelis, Zoe 286
Vigo, Nanda 126, 127, 231, 343, 359, 360, 368 Zetto Ferrari, Liana 229
Volberg Nõva, Erika 226 Zimbler Huebscher, Eva 71
Vos, Joke 286 Zimbler, Liane 70, 71, 226, 341
index of women architects, civil engineers and designers

Vries, Nathalie de 286 Zschach Kressmann Losito, Sigrid 134, 135, 343, 344
CIP - Kataložni zapis o publikaciji
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MoMoWo
MoMoWo : 100 Works in 100 Years : European Women in Architecture & Design :
1918-2018 / [edited by Ana Maria Fernández García ...et al.]. - 1st ed. - Ljubljana : Založba ZRC, 2016

ISBN 978-961-254-922-0
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 MoMoWo · 100 WORKS IN 100 YEARS
EUROPEAN WOMEN IN ARCHITECTURE AND DESIGN · 1918-2018
MoMoWo · 100 WORKS IN 100 YEARS
EUROPEAN WOMEN IN ARCHITECTURE AND DESIGN · 1918-2018

ISBN 978-961-254-922-0

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