Texts and Annotations from 1976 to 2019


Capitalocene Critique Domesticity Feminism Monography Shared space Ways of feeling Writing

Publication Types

Article Book Fiction Magazine Online resource

Chris Kraus
Doina Petrescu
Dolores Hayden
Everyone Agrees
Lucy R. Lippard
Maria Fusco
Maria Fusco
Matrix Feminist Design Co-operative
Susan Hiller
Susana Torre
Ursula Mayer
muf architecture/art
muf architecture/art

Selected Bibliography


Published on 8 February 2023 by
Women Writing Architecture
ISSN 1234-5679

[{"page_number":"8","note":"A list of the artists and architects exhibited in 'Space as Matrix'\u00a0\r\n\r\ncurated by Geraldine Tedder, gta exhibitions, DArch ETH Zurich\u00a0\r\n(28th September 9th December 2022):\r\n\r\nMorgan Quaintance\r\nUrsula Mayer\r\nmuf architecture\/art\r\nMatrix Feminist Design Co-operative\r\nSusana Torre\r\n*\r\nand those who contributed to the programme:\r\n*\r\nMaria Fusco\r\nWomen Writing Architecture\r\nThe Alternative School of Economics\r\nSol P\u00e9rez Mart\u00ednez\r\n\u00a0Jos Boys\u00a0\r\nMorgan Quaintance\u00a0\r\nmuf architecture\/art\r\nThe Heretics by Joan Braderma","endnote":true},{"page_number":"4","note":"******************************\r\nThe second relationship in this glossator is between Matrix Feminist Design Co-operative and muf, architecture\/art:\r\n*\r\n(Matrix)\u00a0Making Space: Women and the Man-made Environment (muf)\u00a0more than one (fragile) thing at a time \/ This Is What We Do: A Muf Manual\r\n*\r\nmuf architecture\/art began practicing in 1995, shortly after the work of Matrix Feminist Design Co-operative ended. Pursuing similar convictions to Matrix, muf worked under very different economic conditions \u2013 those defined by competition in the architectural services market. The practice of Matrix was a reference for muf, and both worked in London\u2019s East End, and consequently with related social histories.\u00a0\r\n*\r\nAs Annamaria Prandi notes in her article on the exhibition Space as Matrix: Born out of the initiative of group of Bangladeshi women from the East End London to create a place for the knowledge and research of female identity, Jagonari Women\u2019s Educational Resource Centre (literally Rise Women), completed in 1987 had been conceived by Matrix together with its founders as a hybrid, secular space, in which women of different Asian faiths and cultures could meet. The center marks a historically politized period for London\u2019s South Asian community after the racially motivated murder of Altab Ali Baig in 1978.\u00a0\r\n\r\n\r\n\r\n\r\n\u00a0","endnote":false},{"page_number":"3","note":"In the play's script, controversial Russian American writer and philosopher Rand lays out her philosophical system of \"Objectivism\" with its stubbornly anti-altruistic and individualistic position.\r\n*\r\nAs a critical counter to Rand, Gonda creates kaleidoscopic printed spaces in which image and text shift roles to affect presupposed ideals of identity and existence. Noting how the cinematic image actually gazes back at us, the book uses highly stylised and precisely composed full colour imagery, and features Dutch transgender model Valentin de Hingh, who also played in Cinesexual \u2013 the third film of the trilogy, exhibited in Space as Matrix.\u00a0\r\n*\r\nThe screenplay, printed in full in this book, comes from a series of interdisciplinary workshops where academics, curators, critics, and writers considered the possibilities of writing through rather than about Rand's play.\u00a0\r\n*\r\nThe screenplay's key textual reference is the production structure of F\u00e9lix Guattari's unrealized 1986 Project for a Film by Kafka, in which Guattari proposed a made-for-television mini-series inspired by episodes in Kafka's writings and life. Gonda cannibalises original writing and transcribed workshop material together with five letter-based passages from Ideal, nudging them into alternative personal pronouns, to make Gonda a book of voices.\u00a0","endnote":false},{"page_number":"5","note":"In 2011, muf renovated the park that commemorates the tragic event \u2013 Altab Ali Park in Whitechapel London. Having become an important meeting place for Bangladeshi communities, muf made several subtle interventions that highlighted the park\u2019s multiple social histories.\r\n*\r\n*******************************\r\n*\u00a0\r\n\u00a0The third relationship in this glossator is between Susana Torre, Matrix Feminist Design Co-operative and Lucy Lippard:\r\n*\r\n(Susana Torre) Space as Matrix (Matrix) Making Space: Women and the Man-made Environment (Lucy Lippard) From the Center\r\n*\r\nSusana Torre's essay Space as Matrix was the founding text for the exhibition. In the text, Torre challenges normative spatial theory based on binaries such as inside \/ outside, public \/ private, building \/ nature. In her 1981 text Space as Matrix, after which the exhibition is named, Torre lays out her ideas to dissolve such divisions, proposing a \u201cHouse of Meanings\u201d that is able to combine, in her words, \u201cthe formal integrity and completeness of an architectural object with the changing and temporary patterns that arise in the process of dwelling.\u201d Torre\u2019s written and drawn sketch for The House of Meanings represents a space as matrix, in which transitions between the natural and constructed, the enclosed and the open, one relation and another are given space \u2013 both metaphorically as a structural idea and actually in how Torre builds.\u00a0\r\n\u00a0","endnote":false},{"page_number":"2","note":"These marginal glosses make connections between different authors and actors, their texts and practices, within this Space as Matrix bibliographic collection that accompanied the exhibition and which can be found on\r\n*\r\n******************************\r\n*\r\nReadings by Maria Fusco from Legend of the Necessary Dreamer took place on 6th December 2022. Over the course of one day, she read intertwined extracts, some repeated some read only once, from her book Legend of the Necessary Dreamer. This event was was organised together with Women Writing Architecture.\r\n*\r\n******************************\r\n*\r\nThe first relationship in this glossator is between Maria Fusco and Ursula Mayer:\r\n\r\n(Maria Fusco) Legend of the Necessary Dreamer \/ The Happy Hypocrite (Ursula Mayer)\u00a0 But we Loved Her\u00a0\r\n*\r\nAlthough not explicitly connected in the events or in the exhibition, Ursula Mayer and Maria Fusco have worked together on several occasions \u2013 a reason to invite Fusco, in addition to her experimental writing on Architecture, to contribute to an event alongside Mayer\u2019s work in the exhibition. Publications that they have produced together include 'Gonda' \u2013 a book and cine roman published in 2013 by \"les presses du r\u00e9el' and part of a trilogy, including Medea and Cinesexual by Mayer: Gonda is informed by Ayn Rand's 1934 play 'Ideal'.\u00a0","endnote":false},{"page_number":"6","note":"\u00a0Transparent panels distributed throughout the exhibition were a further, spatial manifestation of Torre\u2019s earlier drawing, acting formally as a connecting medium between the other works, and conceptually as a lens through which to read them.\r\n*\r\nThe text, together with the drawing \u2018House of Meanings\u2019 as illustration, were first published in 1981 in the issue Making Room: Women and Architecture in the journal Heresies, which, incidentally, connects to the title of Matrix Feminist Design Co-operative\u2019s 1984 publication Making Space: Women and the Man-made Environment and included a text by Matrix member Susan Francis. For Matrix Feminist Design Co-operative, Susana Torre\u2019s writings, amongst them her text Space as Matrix, were, alongside other historians such as Dolores Hayden, an important reference. Both their feminist approaches were structural and aimed at changing the foundations of architectural practice and thinking, rather than inclusion in their currently architectural systems.","endnote":false},{"page_number":"7","note":"The journal Heresies was collectively edited by artists, writers and architects, amongst them Miriam Shapiro, Lucy Lippard, and Torre herself. Lippard and Torre also collaborated on several occasions outside of Heresies: Torre designed the book cover for Lippard\u2019s From the Centre: Feminist Essays on Women\u2019s Art (1976) and wrote an Afterword in I See \/ You Mean (1970). The documentary The Heretics (2009) directed by Joan Braderman was screened as part of the event programme accompanying the exhibition Space as Matrix.\r\n*\r\n********************************\r\n*\r\nAdditional note: Thoughts on the text Space as Matrix continued after the exhibition: The Indiana collective \u2013 a collective exploring the relationship between gender and space \u2013 organised a reading and discussion of Space as Matrix after visiting the exhibition.\r\n*\r\n********************************\r\n*\r\nThe fourth relationship in this glossator, not reflected fully in the reading list, is between muf architecture\/art (prolific creators of alliances) and\u00a0\r\nThe Alternative School of Economics, who ran a workshop - Feminist Economies in Architecture - together during the exhibition.\r\n*\r\n*******************************\r\n*\r\nThe fifth relationship in this glossator is between muf architecture\/art and Helen Thomas of Women Writing Architecture in the production of the\u00a0 experimental publication,\r\n\u00a0\u00a0","endnote":false}]