Posts tagged with "Women in Architecture":

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Dattner Architects organizes campaign for Saturday’s Women’s March on NYC

A throng of local architects, both men and women, will gather wearing pink hard hats and caution tape sashes at this Saturday’s Women’s March on NYC in an effort to raise awareness on the various roles women lead in the architecture, engineering, and construction industries. Organized by Dattner Architects’ Women’s Group, firms across the city are slated to show up in support for what’s dubbed as the “Women BUILD” campaign. Emily Kotsaftis, an associate architect at Dattner, is helping spearhead the event alongside her colleagues Heather McKinstry, a studio resource leader, and Rebecca McCarthy, an architectural designer. When Kotsaftis started the in-house, grassroots group at the end of 2017, she felt a pressing need to begin a conversation on the different ways women were represented within her own office in light of the then-budding media coverage surrounding gender bias and women in the workplace. “We’ve mostly been a discussion group up until now with our first meeting held in February,” she said. “As a large firm, we have a strong representation of women at every level. We’ve been focused on establishing our group within the office, but we’re now looking to mobilize a larger community. The effort around the Women’s March has been really eye-opening because we’re connecting the community of women citywide.” The Dattner Women’s Group, led by Kotsaftis and Mary Beth Lardaro, the studio's human resources director, also includes men within the firm. Theirs is just one of several similar organizations found at AEC companies in New York. Kostaftis said other more-established groups at FXCollaborative, Thornton Tomasetti, and Arup, for example, have helped provide inspiration to her and her colleagues. Last year, Dattner organized a coalition of architects for the Women’s March NYC 2018, which attracted over 70 people from studios such as Handel Architects and BuroHappold Engineering, as well as representatives from the Beverly Willis Architecture Foundation. “Since late 2017, we’ve been thinking about Dattner and how our women’s group operates here,” said Kotsaftis. “Of course, I wanted to communicate with other women’s groups in order to learn about what they were doing, but now we want to become even more far-reaching to include men and women who share this interest across the city. I’m trying not to limit my thinking to my office alone." This year’s “Women BUILD” theme was birthed through a December meeting of women’s group's leaders from CannonDesign, SOM, Howard L. Zimmerman Architects, Marvel Architects, and Perkins Eastman, among others. According to McKinstry, issues such as pay equity, sexual harassment, respect on job sites, and work/life balance led the group to choose a message that communicated the types of responsibilities women take on with their jobs, family, and daily lives as citizens of the world.  “Women BUILD is a unifying theme both in that it can stand as a sentence on its own,” she said, “or be the start of something else like ‘Women Build Communities,’ or ‘Women Build Skyscrapers.” Designers across various firms have created “Women BUILD” signs to be printed for Saturday’s march and used to extoll their mission. For McCarthy and the women at Dattner, that mission goes beyond the march. She foresees Dattner helping enact real change across New York firms by developing initiatives in tandem with other women’s groups that will address the issues women face at work every day. “The last few years we’ve seen a large focus on awareness,” she said. “We’ve focused on reminding the world and those in the design, engineering, and construction fields that we care about these issues and are here to voice those issues. Now we’re ready and want to do more.” The Women’s March on NYC 2019 is organized by the Women’s March Alliance. To learn more details about Saturday’s meetup with Dattner Architects, visit the Women BUILD Facebook Group.
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Weekend edition: Women in architecture aren’t hiding but face challenges in the field

Missed some of this week's architecture news, or our tweets and Facebook posts from the last few days? Don’t sweat it—we’ve gathered the week’s must-read stories right here. Enjoy! Stop asking where all the female architects are; we’re right here Madame Architect editor Julia Gamolina weighs in on the tired, problematic question: Where are all the female architects? Design legend Murray Moss discusses the future of “anti-disciplinarity” The design legend gave two lectures and graduate-level workshops this past semester at the Rhode Island School of Design (RISD). Architects rally behind Doriana Fuksas after prize snub This month two groups started a petition demanding that Doriana Fuksas be included in a lifetime achievement award given to her partner Massimiliano. San Francisco orders historic Neutra home be rebuilt after being torn down After an illegal demolition of one of the five remaining Richard Neutra–designed homes in San Francisco, the homeowner was ordered to build an exact replica. AN will be closed through Wednesday, December 26, but we will see you on Thursday!
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Stop asking where all the female architects are; we’re right here

In 2014, a year after I graduated from architecture school, I read Karrie Jacobs’s Fast Company piece on Nicole Dosso, “The Tallest Tower in the U.S. is Being Built by a Woman.” A perfect title, a perfect piece. In it, Jacobs wasn’t describing Dosso as a “female architect” or as a “woman in architecture.” She simply stated that the tallest tower is being built by a woman, period. As a 23-year-old female starting out in her career, I was energized and in awe of Dosso, and my peers who weren’t in architecture were too. It was a breath of fresh air, a moment of strength. Another example is a recent New York Times article titled, “Architecture is No Longer Just a Gentlemen’s Profession.” Precisely. These are the types of headlines and stories we need. Last Saturday’s New York Times op-ed, “Where Are All the Female Architects?” was not titled to advance our cause. The piece did talk about redefining success since there’s often a limited view of what being an architect means. But its headline, along with a slew of others lately asking where are the female architects, adds to the misleading narrative that there are none out there. It’s a negative story to suggest because there are truly so many. It’s time to change this narrative. I no longer want to hear people asking, “Where are all the women architects?” or saying, “I can’t name five female architects.” I’ve published interviews with 50 women on my platform Madame Architect who build, design, or otherwise advance the practice of architecture, and I’ve spoken to even more. We need to listen to them, write about them, amplify them, and support them in combating the issues our industry faces in order to change this situation.

Instead of asking “Where are these women?” start writing about them and telling their unique stories.

Yes, we need to call out the systemic issues in the industry that are perpetuated time and time again and prevent many women from rising through the ranks. They need to be discussed and approached thoughtfully. But why not show what the redefinition of success looks like by writing about the myriad women who are doing exceptional, sensitive, and important work while simultaneously running businesses, acting as caregivers, and making time to mentor? To me, that is the beginning of change. Instead of asking “Where are these women?” start writing about them and telling their unique stories. Show their successes, their reinventions of practices, and how they forged their own paths. Take Andrea Simitch, who leads the nation’s top-ranked undergraduate architecture program, or Nina Freedman, the former “secret wing” to Shigeru Ban and founder of Dreamland Creative Projects. There is also Sylvia Smith, senior partner at FXCollaborative, who started and oversees the firm’s award-winning cultural and educational practice, as well as Sandra McKee, who spearheaded Rafael Viñoly’s Tokyo International Forum but now owns her own international studio and hosts ArchiteXX’s mentorship sessions. Younger women are also emerging as leaders in the field. Elyse Marks, a restoration architect, rope-access technician, and marathoner, defies gender norms every day while hanging hundreds of feet in the air, while Alda Ly, one of the co-founders of MASS Design Group, runs her own practice working with entrepreneurs and startups like The Wing. Danei Cesario is raising two girls while traveling to speak on industry equity and diversity, while Isabel Oyuela-Bonzani introduces architecture to high school students.

There are clearly many women who are architects, but the yardstick for evaluating good architecture and success is shortsighted.

There are also countless women I’ve met who may not build, but advance the practice and advocate for the value of architecture and architects, like critic Alexandra Lange, public relations expert Tami Hausman, strategist Ashley Bryan, and activist Jessica Myers. These women show there are different types of success at all levels that deserve to be celebrated and talked about. There are clearly many women who are architects, but the yardstick for evaluating good architecture and success is shortsighted. Good architecture now has a broader definition, and we can be more inclusive in showcasing the architecture that addresses the issues facing society today. I should also note that the women I’ve called out in this article are all based in New York. Since I live and work full-time here, these are the architects with whom I can have meaningful, intimate, face-to-face conversations. Of course, I am trying to profile more women located elsewhere in the country and around the world. But just imagine: If there are so many unique stories held within a singular city, there must be countless architects out there doing fascinating work that we need to acknowledge. In last week’s New York Times op-ed, writer Allison Arieff quoted Caroline James, a graduate of Harvard’s architecture program and founder of the advocacy group Design for Equality. James told Arieff that it’s “time to ID the problem and what we need to do moving forward” by giving women the tools they can use to succeed, such as mentorship and access to information. This is exactly my goal for Madame Architect, and the same spirit drives other organizations like ArchiteXX, Rebel Architette, Equity by Design, and Girl Uninterrupted. We should also start early by speaking and listening to students, asking them what questions they have, what resources they’ll need, and what kinds of mentors they want. When I was studying at Cornell, I read Toshiko Mori’s newly-released monograph and remember focusing on the following words which have since fueled my attitude toward my career: “Architects cannot be defeated by disappointments. The profession requires mental strength, good health, and especially a strong stomach. An unlimited amount of optimism, a healthy dose of idealism, and high energy and high spirits help us to persevere through difficult circumstances.” This industry is tough and we need to infuse it with this kind of motivation. We need a strong start in 2019 where we can mobilize, spread knowledge, build community, and support men and women alike within architecture. I don’t believe this is the only solution, but this moment is a new beginning. So let’s write about these women—these architects—in the way that Karrie wrote about Nicole. We are not missing and we will no longer be hidden. Julia Gamolina is the founder and editor of Madame Architect. She also currently handles business development at FXCollaborative.
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Architects rally behind Doriana Fuksas after prize snub

This month two Italian architecture activist groups disseminated a petition demanding the Istituto Nazionale di Architettura (IN/ARCH) include architect Doriana Fuksas in a lifetime achievement award that was recently bestowed on Massimiliano Fuksas, her partner in work and life. The groups, RebelArchitette and Voices of Women Architects (VOW), posted the petition on December 12. At press time, the petition, a publicly-accessible Google spreadsheet with names verified through Sign Here, had garnered just shy of 500 signatures. Doriana and Massimiliano's names appear at the top, followed closely by the likes of MoMA architecture curator Paola Antonelli, and the architects Toshiko Mori and Denise Scott Brown. Also included are lead organizers Louise Braverman, Caroline James, Arielle Assouline-Lichten, and Francesca Perani. Here's the full text of the letter:
Dear Amedeo Schiattarella, President of the Istituto Nazionale di Architettura Region Lazio, and Andrea Margaritelli, President of the Istituto Nazionale di Architettura, We are writing on behalf of Doriana Fuksas, as we understand that she was overlooked in the selection process of the Premio alla Carriera Architettura. Doriana and Massimiliano are equal partners. We are calling for equal recognition for equal work. We are a diverse group from around the world. We lead our own firms, are directors of schools, are award-winning architects, journalists, and professors. This past May at the Venice Biennale of Architecture, some of us came together as a Flash Mob in the Giardini during the preview days of the Venice Biennale as part of Voices of Women Architects -- VOW Architects. The Flash Mob is a peaceful gathering of individuals asking for a common goal. In this case it’s equal rights and respect for all members of our community. Organizers included Martha Thorne, Louise Braverman, Francesca Perani, Farshid Moussavi, Toshiko Mori, Caroline Bos, Benedetta Tagliabue, Odile Decq, Caroline James and Atxu Amann. We read a manifesto in the Giardini to hundreds of men and women who were there to rally in support towards a change in the Architecture profession. The work continues. Today, with other groups, we are supporting the initiative of RebelArchitette: "Time for 50" - Time for Equality. We are looking at the United Nations Sustainable Development Goals 2030 for gender equality and empowerment of women and girls. When we read last week in the news that Massimiliano Fuksas has received the Premio alla Carriera Architettura, we were stunned that the prize did not include Doriana Fuksas. Doriana and Massimiliano are equal partners. It's important to correct the record now so that young architects can look up to their incredible work and know the whole story -- that the work is strong because of joint creativity and collaboration. We are signing in solidarity to show our support for the tremendous achievements of Doriana and Massimiliano, and ask that you amend the Premio alla Carriera Architettura now to recognize Doriana and Massimiliano, together. Thank you for your attention to this important matter.
Doriana and Massimiliano launched Fuksas in 1985. Recently, the duo worked on the New Milan Trade Fair, a convention center, as well as an eyepopping bi-conical theater and exhibition hall in Tbilisi, Georgia. In the age of #MeToo and growing acknowledgment of entrenched sexism in architecture, the petition stands on the shoulders of recent attempts to dismantle structural barriers women in the field face at all levels. Attention to women's recognition in architecture's stratosphere extends back decades: Architectural Record reported that two of the Fuksa petition organizers, James and Assouline-Lichten, led a campaign to get the Pritzker Architecture Prize jury to give Scott Brown an equal share of the 1991 Pritzker awarded to her late husband and professional partner Robert Venturi.
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Women in architecture make their voices heard in Venice

This morning at 11:00 AM, a large crowd of women (and male supporters) met just inside the entrance gates of the Biennale’s garden to protest a lack of recognition of “woman in architecture.” The fan waving crowd cheered as co-organizer Martha Thorne read a prepared statement asking for women to receive more recognition and support from the profession and the media. The event, according to Thorne, Odile Decq, and Toshiko Mori, three of the original organizers, started with this small group but has quickly developed into a network of “hundreds of supporters!” The only slip up was that the protest took place inside the gates of the Biennale and thus many young supporters were denied entrance to participate as they did not have a ticket on this media-only preview day. Still, over 100 people participated, including Francine Houben of Mecanoo, Farshid Moussavi, Jeanne Gang, and curators from The Met and MoMA. The organizers claim that architecture school students are now 60% female, so that today’s "Giardini" protest is only recognizing what will become a reality tomorrow. Below is the prepared statement that the group read: “MANIFESTO We as Voices of Women are building conversations and taking actions to raise awareness to combat pervasive prejudices and disrespectful behavior that appears to be systemic in our culture and discipline. We are united in denouncing discrimination, harassment and aggressions against any member of our community. We will not tolerate it. We will not stand silent. Women are not a minority in the world, but women are still a minority in the architecture field and we want it to better reflect better the world in which we live. The Venice Architecture Biennale 2018 FREESPACE is a crucial moment of awakening to promote equitable and respectful treatment of all members of the architectural community irrespective of gender, race, nationality, sexuality and religion. We will join hands with co-workers, students, clients, collaborators, and our male colleagues to create a new path forward toward equitable work and educational environments that promote respectful discourse and open exchange of ideas. Be a fan of voices of women. Make a vow to uphold fairness, transparency, and collaboration in Architecture NOW.”
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At Venice Biennale this Friday, a call for women’s voices

The Architect's Newspaper received a notice from a group of women architects calling for a public action at the Venice Architecture Biennale on May 25. Our reporters will also be on the scene to cover the action. "We are a group of international women (diverse in terms of ages, background and professional roles) who have decided to gather on Friday 25 at 11.00 am in the Giardini in the main walk along the Stirling Pavilion for a flash mob to stand, read a statement about women in architecture, as women in other fields such as cinema or politics have done, because it is important to raise consciousness in our field. We propose that you come on Friday and join us. Please bring a fan with you as a sign and also because of the hot weather!"
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Women in architecture winners announced by Architects’ Journal and The Architectural Review

The Architectural Review and The Architect’s Journal have jointly announced their 2018 Women in Architecture award winners, with Peruvian architect Sandra Barclay taking home the Architect of the Year award, and Paraguayan architect Gloria Cabral receiving the Moira Gemmill Prize for Emerging Architecture. Recognizing exemplary, recently completed projects, the Architect of the Year award for 2018 was given to Barclay for her work on the Paracas Museum in Paracas, Peru, finished in 2016 by Barclay & Crousse Architecture. The squat archaeological museum’s predecessor was destroyed in an earthquake in 2017, and Barclay’s replacement builds upward with rotated spaces, creating a geometry reminiscent of the patterns found in native Paracas textiles. Clad in a red pozzolan cement, the museum seems to fade into the surrounding Paracas Desert while also standing apart from it, blending the form of ancient ruins with new construction. The judges felt the same way, saying, “Aware of the lack of control onsite and limited resources, the architects responded to the lack of context with a design that is both robust and simple, yet powerful, and even its man-made imperfection adds value to the building”. Cabral, a partner at Gabinete de Arquitectura, has won the Moira Gemmill Prize for Emerging Architecture, a $13,700 prize fund created to honor Moira Gemmill, the late director of design at London's Victoria and Albert Museum (V&A). The judges cited Cabral’s innovative use of cheap, ubiquitous local materials to create novel and often-times more efficient forms. Cabral has been something of an up-and-coming name in the architecture world, having been taken under the wing of Peter Zumthor as Rolex’s 2014 cohort of protégés, and later winning a Golden Lion at the 2016 Venice Biennale. According to the Moira Gemmill Prize judges, ‘Beyond her deep understanding of materials and construction, Cabral showed a sensitive appreciation of the life and use of the buildings she designs. Her commitment is extraordinary and her passion is infectious.” More information about the winners and the shortlist for each prize can be found here.
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This site showcases achievements of pioneering women in American architecture

A new site started by a nonprofit architecture advocacy group is championing women's contributions to American architecture and design. This week the Beverly Willis Architecture Foundation (BWAF) launched Pioneering Women of American Architecture, a site that documents and disseminates women's contributions to American architecture from 1880 to 1980. In collaboration with a jury of architectural historians, the site's co-directors, Mary McLeod and Victoria Rosner, picked five dozen women for the initial launch, all of whom were born before 1940. Those practitioners, many of them still alive or only recently deceased, entered the field when it was even harder for women to practice, curate, and write about architecture. The time parameters exclude the Jeannie Gangs and Liz Dillers of the world, but highlight the often-forgotten work of their predecessors. These include people like architect and city planner Blanche Lemco van Ginkel, whose Montreal firm Van Ginkel Associates proposed an orange minibus (the Ginkelvan) for easier midtown Manhattan transit. A 1972 New York Times article on the bus described the motive behind the project: "Van Ginkel's study proposed a network of pedestrian streets in the midtown area closed to all traffic except for some form of public transport 'that would zip people in style, comfort and elegance the short distances they might not wish to walk.'" Familiar names like critic Ada Louise Huxtable, as well as designers like Florence Knoll Bassett and Ray Kaiser Eames, round out the list. The Pioneering Women project arose from the BWAF's mission to elevate women in architecture and AEC industries. For the online project, the team logged hundreds of hours digging through archives, conducting interviews, and fact-checking their work, and this is just the beginning. McLeod and Rosner hope to expand the compendium, with an eye towards enticing more young women to join the field. Right now, 24 of the 50 planned profiles are up online, and so far the profiles of white women vastly outnumber those of women of color. The site was designed by Los Angeles's Yay Brigade, and its funding comes from design firms, developer Forest City, private donations, and the National Endowment for the Arts.
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Gabriela Carrillo wins Architect of the Year Award; and Rozana Montiel awarded the Moira Gemmill Prize for Emerging Architecture

Mexican architects Gabriela Carrillo and Rozana Montiel have been given the Architect of the Year Award and Moira Gemmill Prize for Emerging Architecture, respectively, for 2017. Both competitions are run by the UK sister publications The Architectural Review and The Architects’ Journal. In a similar vein to RCR Arquitectes winning this year's Pritzker Prize, both women were commended for their local work.

Carrillo, co-founder of Taller Mauricio Rocha + Gabriela Carrillo, was noted for her design of the Criminal Courts for Oral trials in Pátzcuaro, Michoacán in Mexico. Here flexible spaces work in accordance with tight security and aid judicial transparency. Meanwhile, Montiel, founder of Rozana Montiel Estudio de Arquitectura, was praised for her work in local communities that has produced the Veracruz Cancha sports court, the San Pablo Xalpa Unidad Habitacional housing unit, and Tepoztlan House, all of which are in Mexico too.

As winner of the Moira Gemmill Prize for Emerging Architecture, Montiel will take home $12,200. The prize money was established to honor the late Moira Gemmill, former director of design at the Victoria & Albert Museum in London. The money will be used to support Montiel's professional work. 

"All architecture is political. We can read in daily spaces the political priorities of our society," said Montiel in a press release. "Architecture has the power to shape civic behavior because, more than laying bricks, it lays the founding principles of public and social exchanges."

Christine Murray, founder of Women in Architecture and editor-in-chief of The Architectural Review and The Architects’ Journal commented: "The judges were impressed with Gabriela Carrillo’s ability to design flexible spaces, and work with light and shadow to such compelling effect. And they were inspired by Rozana Montiel’s sensitive and perceptive approach to community buildings."

The Women in Architecture Awards also revealed two other winners earlier this year. Denise Scott Brown won the 2017 Jane Drew Prize and the Ada Louise Huxtable award went to artist Rachel Whitebread.

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An exhibition that explores Maryland’s early women in architecture

The lobby of the Enoch Pratt Free Library in central Baltimore is a loud, busy space—double-high with hard marble surfaces, designed in 1930 in a Beaux Arts Greek Revival style. Curator and architect Jillian Storms is in the middle of this uncharacteristically noisy and crowded room, telling a story about Poldi Hirsch. “When looking for a town in Maryland to start her husband’s medical practice, they made a pit stop in Havre de Grace and heard they could use doctors. They thought the town quaint, a lovely place in which to raise a family.

Demand for the professional services of an architect was harder to find, much less so a woman who followed the tenants of modernism. So Hirsch ended up acting as her own developer, and eventually as her own contractor too. She was a pioneer in design-build, building her own house with space for both her husband and herself to practice. When I caught up with her kids, they told me that they had never fully understood what their mother had accomplished, they just knew that she was the only mom in town who was on the phone all day!”

Hirsch is one of a dozen women whose work and lives are sketched in a show curated by Storms. “We just ended up using all of their first names in the text,” Storms said about putting together the show with help from students at Morgan State University. “Otherwise, with name changes due to marriage and other reasons, it was getting too confusing.”

Names weren’t the only source of confusion that arose when Storms and her collaborators started their research. While looking for women in the AIA’s records in Maryland and Washington, D.C., they found no way to search by gender. Before 1970, there was no opportunity to check a box on the application form indicating whether you were a man or a woman because architects were so overwhelmingly male. Still, Storms and her team persisted, conducting their search one microfiche file at a time.

Today, only about 16 percent of the AIA’s membership is women, but thanks to initiatives like “The Missing 32% Project,” the AIA is trying to keep better track of them. That 32 percent is the rate at which women leave the profession, or don’t pursue licensure, after graduating from architecture schools where they make up about half of the student population. This percentage is, in part, the audience that Storms hopes this show might reach. Storms, who is on AIA Baltimore’s Women in Architecture / Diversity Committee, said the show is about asking, “How did the women who came before—who had even fewer role models or members of a support group—how did they do it?”

One theme that emerged was flexibility. Like Hirsch, many of the women included here founded their own firms so that they could manage family and practice with a greater degree of self determination than would have been available working for someone else. The home studio that Hirsch designed for herself is a standout in the show, making fluent, strikingly contemporary architecture out of the divisions and flow between work and life, spaces and solids.

Another thread was independence. Chloethiel Woodard Smith, FAIA, led a Washington, D.C.–based practice that was, at its peak in the 1960s, the largest woman-owned architecture firm in the nation. Former members of her staff remember her determination that her work would not be defined by her gender. “She would walk into a room full of male developers and put them in their place,” one former staffer told Storms. “I’m an Architect with a capital A,” Smith wrote to her school’s alumni publication in 1979. “Being a woman has nothing to do with it.” “She wouldn’t have wanted to be in this show,” Storms said, with a laugh.

It’s the resonances between moments like these and contemporary conversations that linger in the mind after visiting this collection of work and stories. Throughout her career, the late Zaha Hadid was continuously asked to address these same issues about the relationship between architecture, gender, and the disparities that exist within the profession. “I used to not like being called a woman architect. I’m an architect, not just a woman architect,” Hadid told CNN in 2012. “Guys used to tap me on the head and say, ‘You are O.K., for a girl.’ But I see the incredible amount of need from other women for reassurance that it could be done, so I don’t mind that at all.”

It is this tension between the existence of these early women of architecture as both individuals and role models that drives the show that Storms has put together. She is on a first name basis with the architects here, “I’ve visited most of their projects and I’ve gotten to know their kids.”

Back in the Pratt Library lobby (a space that in 1932 then-library president Joseph L. Wheeler said was designed to be “a building that women could wheel their baby carriages [into]”), Storms has an impromptu audience gathered around her as she wraps up her tour of the show. “I’ve found some of them through friends of friends on Facebook and LinkedIn. That’s how research goes in the 21st century.” This show is about “who came before and what they had to deal with,” but it’s also about “trying to understand these women as people.”

Early Women of Architecture in Maryland is on display at the AIA Maryland Gallery through June 26.

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Finally! The 2016 AIA Gold Medal goes to Robert Venturi and Denise Scott Brown

The AIA has named Robert Venturi and Denise Scott Brown the winners of the 2016 AIA Gold Medal. The honor, the AIA's highest, goes to architects whose work is likely to have a lasting influence on the practice of architecture, design, and related fields.

The Philadelphia-based architects’ most recognizable works include the 1964 Vanna Venturi House, in Chestnut Hill, Pennsylvania; the Seattle Art Museum (1985); and the Provincial Capitol Building in Toulouse (1999).

In addition to buildings, they designed furniture, most notably the Chippendale chair, a postmodern take on the ornate Colonial furniture of Thomas Chippendale.

Scott Brown and Venturi co-authored Learning from Las Vegas: the Forgotten Symbolism of Architectural Form (1977) and Complexity and Contradiction in Architecture (1966), two texts that analyzed postmodernity in architecture and the American landscape. The award, to be bestowed next year, comes on the 50th anniversary of the publishing of the latter text.

The couple works together on most projects. In 2013, the AIA revised its selection criteria to allow the award to be granted jointly, perhaps in response to the Pritzker Prize committee’s famous exclusion of Scott Brown, granting the prize to Venturi only in 1991. A 2013 petition initiated by students at the Harvard Graduate School of Design to retroactively honor Scott Brown (and signed by Venturi himself) was rejected by the committee.

Last year, the AIA granted the gold medal to Moshe Safdie. Venturi and Scott Brown's legacy will be set in stone: each gold medal winner has his or her name chiseled into the granite Wall of Honor at the AIA headquarters in Washington, D.C.

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Eavesdrop> Grrrl Power: Los Angeles has a ways to go for women’s equality in architecture

We live in a listicle age. Why write an article when you can clump a few names together and call it a trend? So when Los Angeles Magazine listed six women who have changed the face of Los Angeles architecture, which included one dead AIA Gold Medalist and two New Yorkers, it was bound to create outcry. Brava to the three local gals who made the cut, but let’s celebrate all the women of the L.A. architecture and design scene. When local schools put one lady on the lecture series and pat themselves on the back, we know more needs to be done for gender equity.