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Tag: women in architecture

Women in Architecture: Margarete Schütte-Lihotzky

Posted on by Hunter

As part of our ongoing “Women in Architecture” series, we’re turning our attention to Margarete Schütte-Lihotzky — an architect whose visionary designs and commitment to social consciousness have left an indelible mark on the field. Her story stands out as a testament to creativity, resilience, and an unwavering dedication to innovative design. Join us as we dive into the extraordinary life and career of this influential figure:

The Life of Margarete Schütte-Lihotzky

Margarete Schütte-Lihotzky was born on January 23, 1897, in Vienna, Austria. Growing up in this vibrant city, she was captivated by its blend of historical charm and modern ambition, fostering a deep appreciation for architecture from a young age. The dynamic cityscape became a canvas for her budding architectural imagination.

Frankfurt Kitchen, Margarete Schütte-Lihotzky, 1926

Her educational journey began at the University of Applied Arts Vienna, where she faced the challenge of being the first woman to attend the school. Undeterred, Lihotzky excelled in her studies, laying the foundation for a groundbreaking career. In school, she studied under the famed Australian architect, Oskar Strnad and before graduating, was awarded a handful of prizes for her work.

Notable Works and Achievements

Schütte-Lihotzky’s architectural legacy is defined by designs that transcend mere structures, becoming narratives of history, environment, and society. Much of her early work involved designing settlements and affordable housing projects across Europe. Eventually, she was approached by German architect, Ernst May, to help construct an affordable public housing project called New Frankfurt.

Frankfurt Kitchen, Margarete Schütte-Lihotzky, 1926

Perhaps her most groundbreaking contribution to New Frankfurt is the Frankfurt Kitchen, a marvel of efficiency and modern design. This kitchen was a pioneering attempt to apply scientific principles to domestic kitchen design. It aimed to optimize space and workflow, featuring built-in storage, sliding doors, and specialized work areas—a revolutionary concept that transformed the way we think about kitchen spaces.

A floorplan for Lihotzky’s Frankfurt Kitchen, University of Applied Arts Vienna

Later in her career, Lihotzky provided her expertise to projects across the world, from the creation of the kindergarten schools in Bulgaria and Germany to consultant jobs in China and Cuba. Alongside her revolutionary work, she has received various design awards and achievements, including the Architecture Award from the City of Vienna in 1980 and the Austrian Decoration for Science and Arts in 1992.

Margarete Schütte-Lihotzky’s enduring legacy lies not just in her architectural creations but in the inspiration she provides for architects, especially women. Her life’s work serves as a reminder that architecture is a powerful medium for storytelling, heritage preservation, and the design of a sustainable future.

Women in Architecture: Ada Louise Huxtable

Posted on by Hunter

As part of our “Women in Architecture” series, we’re examining the life and work of luminary architectural critic, Ada Louise Huxtable, who proved that a pen could be as mighty as any structure.

Born in 1921 in New York City, Ada Louise Huxtable pursued her passion for architectural history, culminating in a master’s degree from New York University’s Institute of Fine Arts. However, her broadest impact came when she broke a glass ceiling as the first full-time architecture critic for The New York Times, in 1963. This was a cultural shift, bringing architectural discourse from the drafting tables to the dining tables of everyday readers.

Will They Ever Finish Bruckner Boulevard?

Amid the changing skyline of New York City, with events like the heart-wrenching demolition of Penn Station and the emergence of modern architectural wonders, Huxtable offered crisp, hard-hitting, pointed, and elegant critiques. She ventured beyond aesthetic judgment, assessing structures for their context, their dialogue with the urban environment, and their societal implications.

One of the hallmarks of Huxtable’s career was her advocacy for architectural preservation. She awakened a sense of loss in the public, making them realize the cultural and architectural wealth embedded in historic structures. But her criticism wasn’t just limited to the annals of the past. Contemporary designs, when lacking in vision or disconnected from their surroundings, didn’t escape her discerning eye. 

Frank Lloyd Wright: A Life

While her newspaper columns reached a vast audience, Huxtable extended her influence through her books. Over the span of her career she authored several titles, dissecting architectural trends, urban developments, and the intricate relationship between society and design. With books like Will They Ever Finish Bruckner Boulevard? and Frank Lloyd Wright: A Life among others, she penned a total of seven significant works, each contributing to architectural discourse.

Because of the depth and breadth of her contributions, Huxtable earned recognition across numerous fronts. In 1958, she received a Guggenheim Fellowship. In 1970, she became the first recipient of the Pulitzer Prize for Criticism, an accolade that underscored her trailblazing efforts in the field. Alongside this, she secured a MacArthur Fellowship, firmly cementing her position as one of the foremost voices in architectural criticism.

The Unreal America

Huxtable continued to spearhead architectural preservation efforts well into her later years. And in spite of passing at the age of 91 in 2013, she serves as a powerful reminder of how a single voice can challenge us to see, think about, and engage with our built environment in deeper and more meaningful ways.

Women in Architecture: Elizabeth Diller

Posted on by Hunter

In our ongoing “Women in Architecture” series, we’re highlighting Elizabeth Diller, a visionary who turns metaphors into brick and mortar and continues to challenge conventional architecture. 

The Life of Elizabeth Diller

Elizabeth Diller was born in 1954 in Łódź, Poland, and moved with her parents, who were Holocaust survivors, to the United States when she was six. She was deeply affected by the social unrest of the late 1960s, which ultimately led her to enroll in the Cooper Union School of Architecture in 1970 which, at the time, was a creative hotbed and home to avant-garde design.

Initially, Elizabeth intended to pursue art or filmmaking, but ultimately found herself captivated by alternative methods of space-making. Even then, she was much more interested in the East Village music and art scene than in her classes. It wasn’t until Elizabeth met one of Cooper Union’s design professors, Ricardo Scofidio, that she became fully invested in design. After graduation, Diller and Scofidio became both romantic and creative partners, and emerged as prominent conceptual artists, focusing on comically dark design hacks and advancing the idea that “anything can be architecture” in their 1994 book, Flesh. This conceptual approach that challenged traditional architecture also earned them the coveted MacArthur Fellowship (known as the “Genius Grant”) in 1999.

On the Blur Building. Photo: Projectes I-II grup 12b

Notable Works

By 2000, Diller Scofidio projects were gaining considerable traction and scale, as demonstrated by their design for the Blur Building at the Swiss Expo in 2002. Utilizing a cloud of mist produced by 31,500 high-pressure nozzles over Lake Neuchâtel, this project encapsulated the team’s belief that architecture isn’t just about concrete unmovable structures, but can be an immersive, sensory experience. And as the partnership expanded to include Charles Renfro, the trio transformed the very essence of what a building could represent. 

Approaching the High Line, 2009. Photo: StaceyJean

In 2006, their firm took on the ambitious project of renovating a historic elevated train line in Manhattan’s Chelsea neighborhood. The result? The High Line, an urban park that floats amidst the skyscrapers, becoming an iconic piece of the city’s architectural landscape.

During the 2010s, Diller’s stature in the world of architecture expanded greatly as the firm undertook a host of ambitious, institutional and municipal projects, culminating in designing a massive extension to New York City’s Museum of Modern Art (MoMA) in 2019 as spaces for  modern and contemporary installations. Beyond allowing the museum to grow its exhibition footprint, this project redefined urban space, blurring the lines between public and private, museum and city.

MoMA Museum of Modern Art. Photo: Salon NYC

Just north of Chelsea, this stunning structure boasts a movable shell, allowing it to be reconfigured based on how the interior space is programmed. More recently, the team has undertaken numerous cultural and institutional projects, including the London Centre for Music and revitalizing the historic Geffen Hall at Lincoln Center, further securing a place for Diller and her partners in the architectural canon by creating a new language of contemporary design. 

Elizabeth Diller’s journey redefines the essence of architecture, merging innovation with functionality. Her transformative works extend beyond physical spaces to influence the cultural fabric of society. And her legacy is not solely in the impressive silhouettes of her buildings but in the way she inspires future generations to envision and craft the world anew.

Women In Architecture: Rivera Marín

Posted on by Nancy

As part of our ongoing “Women In Architecture” series, we’re sharing background on a trailblazing architect and educator who rooted her work in humanitarianism, Ruth Rivera Martín. From her radical contributions to Mexican architecture to the inspiration she instilled in her students, Martín’s impact is unquestionable. Learn more about her life and accomplishments below:  

The Life of Ruth Rivera Marín

Rivera Marín was born in Mexico City on June 18, 1927. Born into an environment of artistic flair, Ruth Rivera Marín hailed from a lineage steeped in creativity and brilliance. The daughter of iconic muralist Diego Rivera and writer Guadalupe Marín, she lived in a world where artistry was the language of expression. This rich background not only influenced her early life but also provided a foundation that would shape her approach to architecture.

Eager to carve her own niche, Rivera Marín pursued her architectural education at the College of Engineering and Architecture at the National Polytechnic Institute. With determination, she emerged as its first female student, breaking conventional norms. Under the mentorship of architectural luminaries like Mario Pani and Hannes Meyer, Rivera Marín honed her skills, adopting a unique vision that merged traditional elements with modern passions. 

Museum of Modern Art Chapultepec
Museum of Modern Art Chapultepec, Pedro Ramírez Vázquez, Carlos A. Cazares Salcido and Ruther Rivera Martín, 1964 Courtesy of Matthew Rutledge

Notable Works and Achievements

Rivera Marín’s illustrious career is a blend of iconic designs and transformative contributions to the field of architecture. In a world predominantly led by men, she rose as the first female professor of architecture at the National Polytechnic Institute, paving the way for future generations of women in the field. Beyond this, her pivotal role in founding the National College of Architects speaks volumes of her dedication to elevating architectural standards and practices in Mexico.

Anahuacalli Museum
Anahuacalli Museum, Ruth Rivera Marín, Juan O’Gorman and Diego Rivera, 1964

Her design elements reflected a deep understanding of urban development. She was instrumental in crafting various housing projects in Mexico City, where her creations transcended traditional designs. Her most recognized work was the Anahuacalli Museum in Coyaoacán, which she built with her father and fellow architect Juan O’Gorman. Each of her designs resonated with Mexican modernity, finding a perfect balance of aesthetic allure and functional utility.

Arguably her most profound impact lies in her role as an educator. Rivera Marín’s tenure as a professor has touched the lives of countless students, instilling in them a love for architecture and design. Especially for female students, she was more than just a professor; she was a beacon of inspiration, showing them that with passion and perseverance, they too could redefine the boundaries in the architectural landscape.

Ruth Rivera Marín’s contributions are deeply etched in Mexican architectural history. Her edifices stand as landmarks of her visionary prowess. However, beyond brick and mortar, her true legacy is in the minds she influenced and the paths she paved for future architects. She remains an enduring symbol of dedication, talent, and groundbreaking achievements, inspiring countless individuals to dream big and break barriers.

Women in Architecture: Elisabeth Scott

Posted on by Hunter

Optima® delights in celebrating the visionaries of modern architecture, individuals whose innovative designs have profoundly impacted the spaces we work and inhabit. Among these luminaries is a woman who left a remarkable imprint on her era and the course of modern architecture: Elisabeth Scott. Today, we pay homage to this trailblazer, whose architectural genius transformed the landscape of theater design.

Born in 1898 in the quaint English county of Bournemouth, Scott was nurtured within a family that recognized and fostered her creative prowess. Her odyssey began with her enrollment at the Architectural Association School in London. At the time, it was one of the few institutions breaking the gender barrier by welcoming women into its architecture program.

Proscenium arch within the auditorium building in Chicago. Photo: Wikipedia

Scott’s career had a dramatic turning point when she entered the international competition for the design of the new Shakespeare Memorial Theatre in Stratford-upon-Avon, now known as the Royal Shakespeare Theatre. At just 29, Scott eclipsed nearly 70 competitors, securing her position as the youngest and the first female architect to clinch an international competition. Her triumphant design broke away from the conventional proscenium arch stage, marking a modernist departure that enhanced the intimate engagement between actors and audiences.

Shakespeare Memorial Theatre. Photo: Steve Knight

However, the Shakespeare Memorial Theatre was only the beginning of Scott’s illustrious portfolio. She further honed her architectural craft by designing an array of other significant structures. Among these were the Pier Theatre in Bournemouth, the Fawcett Building for Newnham College in Cambridge, and the Marie Curie Hospital in Hampstead. Each creation was a testament to Scott’s ability to envisage and realize structures that were not only aesthetically pleasing but also served the needs of the greater community.

Fawcett Building, Newnham College. Photo Credit: Architectural Press Archive / RIBA Collections

We’re honored to pay tribute to the remarkable journey and enduring legacy of Elisabeth Scott. She dared to chart her own course in an era when the architectural field was almost exclusively male. Her trailblazing efforts underscored not just her exceptional architectural prowess but also her dedication to empowering society through conscious, innovative design.

Women in Architecture: Glenda Kapstein

Posted on by Hunter

As part of our ongoing “Women in Architecture” series, we’re sharing the story of Glenda Kapstein, an activist for architectural innovation and environmental consciousness. Her impressive body of work has not only redefined the architectural landscape of her home country but has also served as an inspiration for architects worldwide. Discover the remarkable journey of her life and career below:  

The Life of Glenda Kapstein

Born and raised in Santiago, Chile, Glenda Kapstein was a curious and imaginative child. The city’s skyline, with its mix of colonial charm and modern ambition, made it the perfect place to fall in love with architecture at a young age. One of her earliest inspirations was Cantalao, a project dedicated to the culture and people of Chile, promoted by Chilean poet Pablo Neruda.

Kapstein decided to pursue architecture as a career, enrolling at the University of Valparaíso in 1959 and spent two years of school studying across Europe before finally graduating in 1967. Following her graduation, she moved to Spain to work with Spanish Architects Antonio and José Camuñas, who were hired to complete more than 3,000 houses in and around Madrid. Kapstein continued to pick up a mixture of jobs, from working as the Regional Director of Tourism in Antofagasta, Chile, to teaching at the Catholic University of the North (UCN). However, she eventually left to help UCN establish an architecture department and create a study laboratory of her own. With her laboratory, Kapstein was able to explore her interests in how climate dictates architecture. 

The House of Spiritual Exercises of the Alonso Ovalle Foundation in Antofagasta, 1991, Courtesy of Carla Monforte Kapstein

Fuelled by the desire to broaden her perspectives, in 1994, Kapstein pursued her Master’s degree from the prestigious Pontificia Universidad Católica de Chile. The university’s broad and holistic approach to architecture further nurtured her growing passion and seeded her design philosophy with the importance of context and cultural relevance. There, she was surrounded by an inspiring blend of cultures, perspectives, and design philosophies that further refined her approach toward architecture. 

Notable Works and Achievements

In her professional work, Kapstein worked to shape architecture that was not just aesthetically appealing but also ecologically responsible and socially sensitive. She viewed architecture as a powerful medium to express the historical, environmental, and social context of a place. As a result, her designs sought to harmoniously blend these elements, creating spaces that were both functional and meaningful.

Intermediate space within The House of Spiritual Exercises of the Alonso Ovalle Foundation in Antofagasta, 1991, Courtesy of Carla Monforte Kapstein

The most iconic example of Kapstein’s vision is the House of Spiritual Exercises of the Alonso Ovalle Foundation in Antofagasta. Built in 1991, this project stands out as a beacon of sustainable architecture, with its design seamlessly integrating with the natural landscape. The build, executed under Kapstein’s leadership with fellow architect Osvaldo Muñoz, is characterized by various intermediate spaces linking the interiors with the exterior desert. It incorporates innovative, energy-efficient features that minimize environmental impact while providing a state-of-the-art space to celebrate Chile’s rich biodiversity and cultural heritage. The project was a finalist for the Mies van der Rohe Pavilion Award for Latin American architecture in 1998 and the PLEA International Award in 2003, and was sadly demolished in 2019 for unknown reasons against the wishes of Kapstein’s family.

Another testament to Kapstein’s architectural philosophy is her work on the expansion of the Hotel Tulor in San Pedro de Atacama, a desert tourism hotspot. Still committed to ecological responsibility and cultural resonance, Kapstein incorporated local materials and traditional construction methods, resulting in an addition that seamlessly blended with the desert landscape and paid homage to the Atacama people’s heritage. Her design employed sustainable practices like passive cooling and heating to reduce energy consumption. The Hotel Tulor project underlines Kapstein’s distinct approach to architecture, combining innovation, sustainability, and cultural sensitivity, further establishing her as one of Chile’s most influential architects.

Rooms at Hotel Tulor, San Pedro de Atacama, made of adobe, wood and stone

Glenda Kapstein’s life and career are a testament to her commitment, creativity, and vision. Her journey serves as an inspiration for aspiring architects, especially women, reminding us all that architecture is not just about creating structures, but about creating stories, preserving heritage, and designing a sustainable future.

Woman in Architecture: Eulie Chowdhury

Posted on by Hunter

As part of our ongoing Women In Architecture series, we continue to honor the contributions of female architects who have shattered barriers and paved the way for future generations. Today, we celebrate the life and work of Eulie Chowdhury, the first woman architect of India, who left an inspiring legacy of perseverance and innovation with India’s most ambitious Modernist project. 

Early Life and Education

Eulie Chowdhury was born in 1923 in Uttar Pradesh, India. Growing up in a time when women’s roles were largely confined to the household, Chowdhury sought to disrupt those societal boundaries while building her career on a host of rich multicultural experiences derived from her early years spent traveling with her diplomat father. Schooled in Japan, Sydney and the U.S., Chowdhury had the freedom to become a steward of culture. 

Career

Upon returning to India in 1951, life took a remarkable turn for Chowdhury, when she had the opportunity to participate in the design and planning of the modern city of Chandigarh, working alongside some of the most renowned architects of her time including Le Corbusier and Pierre Jeanneret. Chandigarh, situated at the foothills of the Shivalik Hills, would become one of Le Corbusier’s greatest works and an iconic symbol of India’s post-independence architectural movement.

Palace of Assembly – Le Corbusier (1951-1965). Photography: Roberto Conte

During the first phase of the Chandigarh project, from 1951-1963, Chowdhury worked on the High Court building, the first structure to be built by Le Corusier. She also helped with drawings of the Geometric Hill, Tower of Shadows, and Martyrs Memorial, some of the seminal structures of the city. 

Champion for Women’s Rights and Professional Involvement

Eulie Chowdhury was not only a pioneer in her profession but also a staunch advocate for women’s rights. She actively encouraged more women to pursue careers in architecture, inspiring a generation of female architects to follow in her footsteps.

Throughout her career, Chowdhury was involved in various professional organizations, such as the Indian Institute of Architects and the Indian Council of Architecture. She used her influence to promote the importance of women’s participation in the field and to create opportunities for the next generation of architects.

Government Home Science College, Chandigarh ©Wikimedia Commons

Legacy

Though Eulie Chowdhury passed away in 1995, her spirit continues to touch the world of architecture. As the pioneering woman architect who shaped India’s modern architectural landscape, her inspiring legacy of resilience, innovation, and groundbreaking achievements continues to hold incredible power. In celebrating Chowdhury’s remarkable story, we hope to spark the desire for current and future generations of women to chase their dreams and leave their own indelible marks on the world of architecture.

Women in Architecture: Georgia Louise Harris Brown

Posted on by Hunter

As a part of our ongoing “Women in Architecture” series, we’re spotlighting Georgia Louise Harris Brown, a visionary who was able to apply her extraordinary talents across the world. Although she rarely received credit for her outstanding contributions, Brown’s passion for building never diminished. Learn more about her impressive life and career below:

The Life of Georgia Louise Harris Brown

Georgia Louise Harris Brown was born on June 12, 1918, in Topeka, Kansas, to Carl Collins, a shipping clerk, and Georgia Watkins, a school teacher. As a child, her interests revolved around the arts and tinkering with cars and farm equipment with her brother. Brown distinguished herself from school as an exceptionally bright student, which led her to Washburn University, where she studied from 1936 until 1938. 

After graduating, Brown traveled to Chicago to visit family but instead fell in love with the metropolitan atmosphere and presence of a strong Black community. Originally planning to stay for the summer, she enrolled in a course at the Armour Institute of Technology – now the Illinois Institute of Technology – taught by Mies van der Rohe and began taking flying lessons, which would become a lifelong passion. 

860 and 880 Lake Shore Drive, Chicago, Mies van der Rohe, 1948-51, structural calculations by Brown

However, her plans changed when she enrolled in the school’s engineering and architecture program in the fall of 1938. Brown continued her studies in architecture but moved back to Kansas in 1942. She completed her degrees at the University of Kansas in 1944 and was the first Black woman to do so at the school.

Notable Works and Achievements

Brown returned to Chicago in 1945, where she found a job working for Kenneth Roderick O’Neal, a confidant of Mies and a leading architect at the time. In Chicago, she acquainted herself with other aspiring Black architects, including Beverly Lorraine Green and John Moutoussamy. In 1949, while working for O’Neal, Brown finally received her architecture license, and in the same year, she began working for Frank J. Kornacker Associates, Inc. 

The Promontory Apartments, Chicago, Mies van der Rohe, 1946-49, structural calculations by Brown

At Kornacker Associates, Brown developed many structural calculations, including those for the apartment building at 860 Lake Shore Drive. During her time there, she also worked on many side projects for Woodrow B Dolphin, including various churches, houses and office buildings around Chicago. Although, after realizing that her race and gender would hold her back from many opportunities in America, she became interested in moving to Brazil, where she believed she would be held back less. 

In 1953, Brown relocated to Brazil but didn’t receive an architecture license for the country until 1970. However, shortly after arriving, she found work with Charles Bosworth, another American who had moved to Brazil to open his own firm. While living in Brazil, Brown contributed designs and managed the completion of several significant builds. Along with various personal homes, many of her projects included large-scale plants and factories, including one for Ford Motors, Pfizer and Kodak. 

Kodak Factory, São José, Brazil, 1971, Georgia Louise Harris Brown, Courtesy of University of Rochester Library

While Brown’s contributions to architectural design have often been unrecognized, her expansive knowledge of structural engineering and design always drove her to the leading firm of the time. And while she contended with feeling like an “other” wherever she went, she never held back from challenging the status quo and pursuing her lifelong passion for architecture.

Women in Architecture: Elizabeth Wilbraham

Posted on by Hunter

As part of our ongoing “Women in Architecture” series, we’re spotlighting a trailblazing yet often forgotten leader in architecture, Lady Elizabeth Wilbraham. While it was nearly impossible for women to professionally pursue architecture throughout their life in the 17th century, Wilbraham is often considered the first woman architect in the United Kingdom’s history. Learn more about her storied life and career below: 

The Life of Elizabeth Wilbraham

Elizabeth Wilbraham was born into a wealthy family in Staffordshire, England, on February 14, 1632. At 19, she married Thomas Wilbraham, heir to the Baronetcy of Wilbraham. Following their marriage, the couple traveled across Europe for their honeymoon, and because of her interest in architecture, she took it upon herself to make the trip an extended architecture tour. 

On their trip, the couple conversed with several significant architectural leaders of the time. She met Pieter Post, a Dutch Golden Age Architect in the Netherlands, studied Andrea Palladea’s work in Italy and fell in love with the Stadtresidenz in Germany before returning to the United Kingdom, where her mostly unseen career began. 

Weston Park, one of the many home’s Wilbraham designed for her family in the 17th century
Weston Park, one of the many home’s Wilbraham designed for her family in the 17th century

Notable Works and Achievements

While there is a lack of evidence that clearly links Wilbraham’s involvement as a formal architect at the time, it is clear that she held a great interest in architecture and was a considerable patron of architecture throughout the 17th century. However, historians continue to argue that she managed to practice architecture secretly and was likely involved in the design of more than a dozen grand homes for her extended family, including Weston Park, Staffordshire and a chapel at Woodley, Chesire.

John Millar, an American historian, claims that Wilbraham could have contributed designs to more than 400 buildings across the United Kingdom during her lifetime, using male assistant architects to supervise and take credit for the projects due to her social position. 

St Paul’s Cathedral, one of the many churches Wilbraham was said to help Wren design
St Paul’s Cathedral, one of the many churches Wilbraham was said to help Wren design

Wilbraham is also credited for not only tutoring Christopher Wren, one of England’s most highly acclaimed architects but contributing designs for 18 of the 52 churches he commissioned following the Great Fire of London in 1666, most of which share unique design features Wilbraham included in countless other builds. 

In a time when women couldn’t find themselves in any professional setting, Elizabeth Wilbraham did what no others did at the time and pursued her passion through a professional lens. And even though she completed much of her work behind closed doors and credit was given elsewhere, her legacy as a major patroness of architecture, and possibly even the first women architect in the United Kingdom, remains. 

Women In Architecture: Eva Hagberg

Posted on by Hunter

Many of the pioneering women in the field of architecture, including Ray Eames, Norma Merrick Sklarek, and Mary Jane Long, earned their reputations on projects they designed, just like their male counterparts. But what if someone was able to have a significant impact on critical thinking within the field without actually designing anything? This is how we came to know Eva Hagberg, a person whose journey into and through architecture has been as interesting as it is purposely unconventional.

Writer, architectural historian, adjunct professor, once secret publicist, activist, and self proclaimed, “worst architectural student the school of architecture has ever seen.” Eva Hagberg is a woman in architecture who prides herself on her ideas and process rather than the execution of building a model for people to see.

Eva’s Backstory

From the age of 11, Hagberg was passionate about design and architecture; and while she earned a BA in the field from Princeton University, she never intended to practice. Rather, she began her professional life writing about architecture, choosing to engage in the field from a vastly different angle — interrogating the relationships between narrative and form.

From her early career as a writer in New York City, Hagberg became a secret publicist for architects and designers who were seeking help in articulating the stories behind their projects. As she functioned as a kind of ghost writer, she took advantage of the freedom to be unknown and unseen — “practically ungoogleable” as Hagberg describes herself. Because she opted to express herself by helping others find their voices, she was able to do the work that interested her the most without being pigeonholed, or specialized — architectural historian, adjunct professor, 77 year-old architect reminiscing about a project done in the 80s — or author of When Eero Met His Match.

Published Books

When Eero Met His Match
When Eero Met His Match by Eva Hagberg

What is today a trite proverb — that behind every great man, is a great woman — Eva Hagberg’s When Eero Met His Match is as biographical as it is a poignant love story between critic and publicist Aline Louchheim and architect Eero Saarinen. Aline aided Eero in shaping his identity and prominence as a designer and architect. Throughout the book, Hagberg expresses just how important it is to embrace language and narrative as an integral part of the practice of architecture.

She has also published two architectural books through Monacelli Press, Dark Nostalgia and Nature Framed. Dark Nostalgia seeks to combine psychology, style, architecture, and art to express the reasoning behind our desire to live within lushly nostalgic interiors incorporating wood, velvet, fur, brick, and iron. 

Dark Nostalgia
Dark Nostalgia by Eva Hagberg

Nature Framed, on the other hand, explores an Optima favorite, the concept of biophilic design. Hagberg views 25 residential projects (framed with nature in mind) from around the United States that take the concept of “green living” to the next architectural level by asking, how close to nature can we be while remaining indoors?

Nature Framed
Nature Framed by Eva Hagberg

As Hagberg herself explains, being the “worst architectural student the school of architecture has ever seen,” had its own set of merits. And because of her willingness to rethink, reframe and recontextualize stories about the built environment, Hagberg has carved her own path through sheer perseverance and a deep attunement to the soul of architecture and those who practice it.

Beyond her BA in architecture from Princeton University, Hagsberg went on to earn an MS in architecture from UC Berkeley. As well as a PhD in Visual and Narrative Culture from UC Berkeley. Today, as a member of the Columbia University Graduate School of Architecture, Planning, and Preservation faculty, her academic work focuses on the theoretical and historical approaches to publicity as a mode of architectural production, and lays out how the modern media system works.

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