Membership of Type allows unlimited access to our online library. Join to support new research and writing on the design of the built environment.
You can read more about membership here.
Already a member? Login to your account to avail of unlimited downloads.
Membership of Type allows unlimited access to our online library.
Join to support new research and writing on the design of the built environment.
You can read more about membership here.
Individual Membership Fees
Individual membership is available on a monthly or annual basis.
The fee is €10/month or €99/year.
Too many builders gaze into the future and want to put a heliport on the roof, or perhaps build the guest room out of some edible material … but that sort of thing is too science-fictiony. We have to be practical [1].
If the novum [2] is the necessary condition of science-fiction, the validation of the novelty by scientifically methodical cognition into which the reader is inexorably led is the sufficient condition for SF. Though such cognition obviously cannot, in a work of verbal fiction, be empirically tested either in vitro or in vivo - in the laboratory or by observation in nature — it can be methodically developed both against the background of a body of already existing cognitions and as a "mental experiment” [3].
Envisioning future landscapes based on scientific or technological advances, and major social or environmental changes has an anchored place in the practice of both the architect and the science-fictioneer. Given the parallels in the privacy of their devotions – each occupied with a degree of prediction, invention, and resolution – mirroring neural network profiles have surely evolved amongst these design, (r)evolution and systems-orientated fields of thought.
A certain romance between the two disciplines has unfolded for over a century at their common meeting place: the cinema. Once science-fiction met the medium of motion picture, the (de)construction and translocation of the traditional set began, enabling a mass engagement with, and critique of, spatial and societal what-ifs. When the briefs of the architect and the director are overlaid, constellations of corresponding points emerge as often as polarities. For example, the director/audience and architect/client relationships (both critical driving forces of any project) have moments of convergence and divergence when compared with one another. Where the director may pitch pro-actively to entertain/meet the desires of an imagined, transient audience with a strategy to distribute the work to a population, the architect may operate reactively to the needs of a specific client, with a strategy, in many cases, to attract a population to the work. Both practices excel at, and are excitable by, agitation of the brief – the offerings of adroit out-of-the-box thinking, often prevalent with designers who maintain research and experimentation with existing techniques and emerging technologies.
The works of magician and filmmaker Georges Méliès were famously disruptive in this regard, leading him to create the transcendent set of Le Voyage Dans la Lune (or The Trip to the Moon) in 1902. His 400th short, this sci-fi pioneer followed a decade in theatre and roughly six years of experimentation with illusion, scale, perspective, material, technological resourcefulness, etc. Pioneering/popularising the use of the Schufftan Process, Metropolis – considered the first sci-fi feature and a staple architectural reference – made its bold arrival in January 1927. Interestingly, the first talkie, The Jazz Singer, was released in October of this year, indicating that, following Metropolis, all major sci-fi features adapting a silent or minimalist approach to dialogue did so by design. This was notably intentional in Kubrick’s 2001: A Space Odessey (1968), which features no dialogue in the first twenty-five and last twenty-three minutes of the film. 1958’s Vertigo piloted the use of CGI, as well as the composition of live-action film with CGI, and by the late twentieth century, screen adaptations of sci-fi scripts and texts were no longer restricted to theatrical sets and illusionary devices.
While Ridley Scott refrained from the application of digital effects in Alien (1979) and Blade Runner (1982) – by some ratio of ambition and trepidation – a chain reaction of feature films followed which demonstrated the possibilities of storyboarding in the digital space. This method was well-tempered by the millennium and films such as The Matrix (1999), Avatar (2009), and Inception (2010) used CGI to depict cerebral landscapes and scenes, a possibility which neuro-imaging may already be on the cusp of today. The calibration of scales of known existence was famously captured in Powers of Ten by Charles and Ray Eames in 1977. This nine-minute journey from the cosmic to the subatomic scale remains uncategorisable, transcending its scientific, environmental, and educational functions to become a work of timeless universality. The central, yet subtle story of the sleeping picnicker is laced into an otherwise data-driven presentation, igniting the profound perspective the film is so well-associated with. Six minutes into the film, within its unique parallactic structure, the narration creates a chokehold of architectural appreciation: “a million lightyears out, as we approach the limit of our vision, we pause to start back home. This lonely scene, the galaxies like dust, is what most of space looks like. This emptiness is normal: the richness of our own neighbourhood is the exception”.
The influential imaginings of architect Étienne-Louis Boullée, which would inevitably inspire cinematographic landscapes, were referenced in Peter Greenaway's film The Belly of an Architect (1987) and more recently modelled (using 3ds Max) for the short film, Lux in Tenebris (2019), by experimental Berlin-based practice BBB3. Brian Eno’s 1989 Imaginary Landscapes draws on New York’s urban density ‘world-building’ with sound as material. Closer to home, Cork-based poetry filmmaker Colm Scully frames fractal landscapes found in his kitchen to achieve an ambiguity of aerial scales in Philips’ Modern Atlas of the World (2017).
There is no doubt that the accessibility and wide reach of film equips the medium with an influential power – one vastly accelerated by the effective combination of information and poetics. Many modern architectural practices, obeying the profession’s role to be responsive and adaptive, often utilise film as a medium to engage. On multidisciplinary practices, architect, author and educator, James Tait argues that it "is not actually a decentring of the profession but instead the decoupling of it from its output. A separation of architecture from its reason for being – the building" [4]. Despite being a well-established school of thought, this deviation from traditional practice still carries stigma within the profession, as noted by Holly Lewis, co-founder of London-based architecture and urban design studio We Made That: “The dexterous, multi-faceted skills that architectural training bestows can be a great asset in so many fields, and there is so much work to be done. Rather than stand in judgement of our fellow professionals, let’s celebrate the diversity that our eclectic and wide-ranging educations have successfully prepared us for” [5].
The architect’s potential to communicate through film remains in its youth when compared to the influence film has had on the perception of architecture, and what an architect does. The architect’s self-representation in this field is further dwarfed when television programmes are included, as well as the eclipsing consumption of content through streaming platforms, video apps, etc. Until now, these collective contents may fall under three broad production styles: the epics, the ‘glossy’, and the documentary. Though the latter injects research and reality between the dichotomy of ‘the epics’ and ‘the glossy’, it is questionable whether the architectural documentary remains a niche interest, and whether it brings enough balance to the representation of architecture on screen.
It can be argued that this representation is within the capacity of architects themselves, given both their existing skillset to communicate visually, to coordinate teams and timelines, to direct and design, etc. This is not to strictly suggest a hybrid office. BBB3 and Scullys’ shorts demonstrate that creatively high-yielding, micro-productions have never been as attainable as they are today. The use of film and video in practice may be an under-utilised medium well within reach of the architect, and its possible applications have the potential to accelerate progress in the field. In education, for example, the sporadic site visit could be contextualised by a library of local ‘construction shorts’. Audio/visual portfolios may become a tool for the process of hiring and determining optimum professional compatibilities. The ‘project pitch’ video, seductive and utopic by nature, could more often speak openly to communities and the public stakeholders, allowing for ruminations on inventive concepts and responses in urban development. After all, critical solutions may well lie with the radical architect, drawing in a territory akin to that of the sci-fi novum.
Present Tense is supported by the Arts Council through the Architecture Project Award Round 2 2022.
1. J. Prucher, ‘P 174’, Brave New Words: The Oxford Dictionary of Science Fiction, Oxford, Oxford University Press, 2009.
2. (Latin: new, novelty, innovation, unprecedented) Introduced by SF scholar Darko Suvin and extended from an earlier concept developed from Ernst Bloch’s Marxist theory: used to describe the scientifically plausible innovations used by science fiction narratives.
3. D. Suvin, ‘The State of the Art in Science Fiction Theory: Determining and Delimiting the Genre’, Science Fiction Studies, vol. 6, no. 1, 1979. Available at: https://www.depauw.edu/sfs/backissues/17/suvin17.htm. Also in this paper, Suvin attributes the ‘novem’ concept to Bloch, stating that “The postulation of the novum is based on and validated by the post-Cartesian and post-Baconian scientific method […] The novum is a fundamental concept of this greatest philosopher, of open horizons and radical possibilities for humanist change in our age”.
4. J. Tait, ‘What Do Architects Do, If Not Design Buildings?’ What Do Architects Do, If Not Design Buildings?, [website], 2021, https://www.routledge.com/blog/article/what-do-architects-do-if-not-design-buildings.
5. H. Lewis, ‘When Is an Architect Not an Architect?’ in Harriet Harriss, Rory Hyde and Roberta Marcaccio (eds.), Architects After Architecture: Alternative Pathways for Practice, 1st edn, Routledge, 2020.
Architecture is widely considered to be an incredibly innovative profession. For centuries, it has played a crucial role in shaping our urban landscapes and societies. This innovation and creativity which characterise the profession is first nurtured in the early stages of education. The excitement sparked by entering the first year of university develops into a growing sense of possibility as the years progress. However, for an industry so forward-thinking, the issue of how women fit into its identity structure has very much “remained unresolved” [1].
When I began my own career almost 7 years ago, it appeared to me that the field was largely male dominated, particularly in the way architects were celebrated and publicised. Many of the names, faces, and projects I encountered were male, which subconsciously shaped my understanding of who typically occupied positions of recognition and authority within the field. While my academic experience in architectural education has been shaped by a diverse student cohort, my professional experience beyond academia has highlighted an underrepresentation of women among firm partners, associates, and managers.
The statistics, supported by RIAI-sponsored research, show how gender balance in architectural education unfortunately doesn’t directly translate into female representation at the top level in the country. In Ireland, only 30% of registered architects are women, with as little as 16% occupying principal or leadership roles in RIAI-registered practices [2]. The issue, however, is not the lack of ambition, ability, or women’s desire to enter the field. Recent decades have seen a growing number of women choosing architecture as a career path with Irish architecture schools achieving gender balance since the 1990s. Since “as many women as men qualify with degrees in architecture”, it's important to question where the deeper rooted imbalance, often referred to as the “leaky pipeline", comes from [2]. This metaphor is often used to describe the disappearance of women from career pipelines as seniority increases.
Historically, architecture has been shaped by a culture of extreme working hours and a lack of flexibility, where wearing tiredness as a badge of honour is often expected. From under-recognition to pay gaps, the challenges women face within the profession remain largely unchanged. A survey discussed by Dervla MacManus and Katherine O’Donnell in the ‘I am an architect’, gender and professional identity in architecture research article reveals a clear contrast in how gender is perceived in architectural careers. While 45% of men reported that gender has no influence on their career thinking, only 2% considered it important. In contrast, 41% of women described it as extremely influential [1].
Since “architectural practice relies on long working hours, homosocial behaviour and creative control”, many women, particularly those with caregiving responsibilities, can find the profession difficult to sustain long term [3]. Those who do reach senior roles however, often receive less recognition in comparison to their male colleagues. From precedent case study lists handed out in universities, to the industry’s most prestigious awards; female architects contributions have not always received equal acknowledgement. The case of Denise Scott Brown is a well-known example of female achievements being overlooked, as she was excluded from the Pritzker Architecture Prize, which was awarded solely to Robert Venturi despite their collaborative work [4].
During my university exchange abroad one of the elective modules offered was titled ‘Women in Architecture’. It was a 5 credit course dedicated specifically to exploring women’s contributions to the field. I was excited to partake, however I equally found myself wondering why this topic needed to be defined seperately. Did the module come to life due to women’s work being significantly overlooked within the mainstream architectural curriculum? What stood out to me the most however, was how fast the class reached full capacity with a waitlist forming as a result. Its popularity suggested a genuine interest among students for a more expansive and inclusive learning environment, regardless of gender.
For students like myself who seek female role models on a daily basis, representation is incredibly valuable. Recognising and celebrating women is not only symbolic, but it actively shapes the aspirations of young women entering architectural education. How we record the history and achievements of all architects, despite gender or background, not only influences our understanding of the profession today, but also advocates for a more inclusive architecture culture. Conversations like these create a future that is not abstract or unattainable, but something women can see themselves embodying.
Experiencing representation first hand has deepened my understanding of what it truly means for women in practice. When I began my first role in the professional world of architecture, it came with the stress and imposter syndrome that often accompanies any new position, particularly your first. This pressure however, felt significantly eased after being assigned a female mentor; someone who reflected my background and experiences in a professional setting. This experience made a meaningful difference for me from the very first day. Her guidance played a key role in helping me settle in and grow in confidence. It also helped me understand the potential of my career development and the direction I wanted it to take. It allowed me to set goals that felt both tangible and exciting.
Recognition, representation and mentorship at the top tiers of the profession carry immense value. Having experienced it first hand, I understand how powerful it can be, not only for confidence building, but also for shaping drive and ambition. An industry with a ‘leaky pipeline’ misses out on a wider range of perspectives and approaches where design can suffer as a result. I hope the topic of a more inclusive architecture culture becomes an everyday norm – particularly for those starting out as young professionals, trying to navigate the uncertainties of their early careers in the pure chaos of the world of architecture.
In this article, Julia Przado continues our mini-series ‘Drafting Identity’ which focuses on the experience of women in Architectural Education from both personal and professional perspectives, supporting the FIAE movement. Julia explores the underrepresentation of women in senior roles within the architectural profession, and the importance of representation, recognition and mentorship.
Read
The architecture crit as an assessment format has remained largely unchanged since its inception. Conceived in the 1850s by the Beaux-Art School curriculum, it marked a shift from apprenticeships at ateliers toward academic degrees at University [1]. Despite the profession itself undergoing numerous transformations, this aspect feels stuck in time. When asked to write a piece about my experience in architectural education, ‘crit culture’ immediately came to mind.
Ahead of presenting in front of a review panel, there is a feeling of discomfort. A mental note to speak loudly, stand tall and stay concise, all while getting your concept across. The week before a review becomes a drawing marathon, racing to complete and pin-up the ‘finished’ product. The dread of the crit is experienced by all students, but there is an unstated imbalance between male and female students.
It is undeniable that students learn important life skills through preparing for a review, such as public speaking and presenting under time constraints. However, the crit environment emphasises a particular kind of thinking where students are encouraged to present as the ‘masters’ of their project [1]. It is formal and declarative. By contrast, design work is rarely this way. It is a slow process that emerges from continuous iterations and thoughtful decision making. It is often difficult to portray the experiential intentions of the project during a review. It is much easier to defend a rigid master plan than it is to discuss the way a space feels and the material process behind it. These are gendered qualities of architectural presentation. Masculine ideas perform well in crit environments; they are more structured and easier to make coherent in a drawing. Whereas the feminine attributes fall to easier scrutiny; they are attributes rooted in process, feeling, and care.
During a crit, your work is performing and you become part of the performance to the audience of jurors. In this becoming, there is an inequality between male and female students. As the body plays a part in this performance, it is worth analysing the historical role of the female body in visual culture and performance. There has been a gendered dynamic present throughout visual culture in western society. Laura Mulvey diligently outlines this in her work ‘Visual Pleasure and Narrative Cinema’ [2]. She describes how men are accustomed to seeing themselves portrayed as the protagonist and driver of the narrative, whereas women are accustomed to seeing themselves as the spectacle. These dynamics are internalised and can affect the way in which each gender approaches a review.
The lack of female role models in architectural discourse feeds this narrative. For decades, we have idolised the ‘starchitects’, who are predominantly male. It is no wonder women have trouble self-identifying with the protagonist in this profession. Typically, architecture schools place female students standing before a predominantly male, seated jury. This has a significant impact on female presenters, as it reinforces a spatial hierarchy where emphasis is placed on performance and presentation, rather than broadening conversation and engaging with people on a horizontal level. This structure is another aspect of the crit that is culturally coded in gendered norms of masculinity.
Established in an all-male environment, the review feels outdated and disconnected from the realities of working practice, where design is collaborative and dynamic, and involves multiple actors working together. The crit forces women to bend our femininity to fit a system that has historically excluded it. It perpetually legitimises gender norms within the realm of architectural education. With this, we lose an opportunity for critics to establish a self-identity with us and our work, and this generates a bias. I experience an immediate wave of calmness on review day when a female reviewer is present. It marks an opportunity for self-determination.
Elisa Iturbe said, within her paper ‘Women & The Architectural Review: the Gendered Presentation of Architectural Work’, that “Our femininity is rejected when we must speak loudly and boldly to an audience of predominantly men” [3]. In feminist pedagogy, relationships between teachers and students exist on a less vertical plane. Power and knowledge become shared [4]. Last semester, instead of the standard presentation format for our Architectural Technology module, a group of 4 female students, Julia, Róisín, Ciara, and I, came together to create a podcast to share our work with each other and our peers. This conversational and collaborative discussion was deeply beneficial to all of our learning. It removed the hierarchy associated with a presentation, and felt rooted in feminist pedagogy.
A crit established in an all-male environment is adversarial and performative, favouring bold ideas, structured drawings, and encouraging a ‘master’ mindset. A crit reimagined by an all-female group of 4 becomes a collaborative dialogue for sharing ideas. Hierarchies are removed and time is given to explain process and materiality. Architecture itself creates the physical and cultural framework in which we as a society exist and progress. Architectural education should be no exception. No aspect of it should perpetuate gender biases.
In this article, Kate Crowley continues our mini-series ‘Drafting Identity’ which focuses on the experience of women in Architectural Education from both personal and professional perspectives, supporting the FIAE movement. Kate discusses ‘crit culture’ in architectural education and the impact that dynamic has on women, in particular.
Read
In the new year I took up knitting. I had previously crocheted, but I find knitting easier, more rhythmic, and I am more drawn to the textures it produces. Recently, however, I learned that while knitting is often regarded as the more refined craft, crochet might in fact be more ‘valuable’. Knit stitches are predictable and therefore more easily mechanised. Crochet, by contrast, relies on complex, irregular knots that demand the tension and judgement of a human hand. What appears somewhat more sophisticated and polished is also more reproducible.
When asked to reflect on my experience as a female architecture student, this question of value - particularly of historically feminised crafts - felt unexpectedly relevant. Textile work has long been associated with women and domestic labour and therefore devalued and positioned outside the realm of serious production or art. Analogously, women architects were historically steered towards domestic architecture and interior design. Stratigakos notes, it was considered that the female designer’s ‘essential womanliness’ made them naturally suited to the home, a space which was private, emotional and minor [1]. Civic or infrastructural projects were considered prestigious and carried heftier financial rewards, and as such were reserved for male architects. Qualities associated with women such as emotion, interiority, and care - domesticity, were treated as secondary and women were excluded from typologies that defined architectural ambition.
Le Corbusier described the house as ‘a machine for living in’, prioritising standardisation, efficiency and rational function over decoration or atmosphere. The aesthetics of stark functionalism has continued to shape contemporary architectural culture. Optimised plans, clean sections, seamless renders are easily produced, easily legible, and easy to defend. Contemporary techniques of modular or panelised construction used in large office or housing blocks can feel nearly human-less, designed and assembled by ‘the machine’ - although of course manual labour has indeed occurred [2]. The new age of AI further intensifies this condition; the machine in architecture. It can generate compelling plans, sections, and images in seconds. What it excels at are the same qualities architecture has long rewarded. Yet, just as a machine cannot feel the precise tension required for a double or treble crochet stitch, it does not possess haptic perception or a true sense of scale. Juhani Pallasmaa argues in The Eyes of the Skin that contemporary architecture’s dominance of image and form often comes at the expense of touch and care [3].
I recognise these tensions in my own education and practise. Formal strength, productivity, and technological fluency are often what succeed in crits. A rational plan can be convincingly argued, a clear section is reassuring. I have learned to provide a clear drawing to explain every essential argument or design choice. What I find harder to justify are decisions rooted in emotion; how I want a space to feel, how I imagine a body moving through it, why a corner should sharpen or curve, if a space should feel bright or dark. The more intuitive or impulsive my reasoning, the more difficult it is to articulate graphically or otherwise within a culture that prioritises efficiency and reproducibility.
As a result, those qualities which resist such reproduction - those historically coded as feminine such as care - atmosphere and emotional intelligence have come to feel more important to me. Anyone can now optimise a plan; fewer can design for the subtle choreography of inhabitation or the quiet negotiations of domestic life. Eileen Gray argued, “A house is not a machine to live in. It is the shell of man, his extension, his release, his spiritual emanation” [4]. These sentiments can be read in her design of E1027. For example, the spacing of Gray’s pilotis are derived from internal spatial properties rather than mathematical calculations, and, as such, are wider in public spaces and narrower in those that are private [5]. Her layered window system retains a Corbusian panoramic view while simultaneously addressing the body’s vertically [6]. Her resistance to mechanisation was not superfluous or emotional, but human.
Architecture cannot be entirely abstracted from lived experience; it cannot be wholly mechanised. It demands a sense of human scale and feeling. This begs the question; why were care and emotional intelligence ever confined to the domestic setting? Are these not also essential skills required for the design of hospitals, schools, offices, or train stations? Those skills, historically feminised and therefore dismissed, may prove central to the profession which is being redefined in the age of AI. This renewed importance does not signal a retreat to domesticity. Instead, the craft of architecture and its attentiveness to atmosphere, material, and embodied experience gains value. What was once dismissed as soft may prove resistant.
In this article, Róisín Hayes starts our new mini-series ‘Drafting Identity’ which focuses on the experience of women in Architectural Education from both personal and professional perspectives, supporting the FIAE movement. Róisín explores the craft and making of architecture, and the emotional intelligence inherent in her work.
Read
Website by Good as Gold.