The Modernist dream of livability (California + Titirangi)
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Authors
Pretty, Annabel
Hochstein, Gina
Hochstein, Gina
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2024-06
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Conference Contribution - Paper in Published Proceedings
Ngā Upoko Tukutuku (Māori subject headings)
Keyword
California
Titirangi (Auckland, N.Z.)
Aotearoa
New Zealand
modernist architecture
domestic architecture
history
gender
male gaze
photography of women
Titirangi (Auckland, N.Z.)
Aotearoa
New Zealand
modernist architecture
domestic architecture
history
gender
male gaze
photography of women
ANZSRC Field of Research Code (2020)
Citation
Pretty, A. C., & Hochstein, G. (2025). The Modernist dream of livability (California + Titirangi). In AMPS Proceedings Journal Series (39.2) (Ed.), Livable Cities-London, University of London City, AMPS (Architecture Media Politics Society) (pages 281-301). https://amps-research.com/wp-content/uploads/2025/03/Amps-Proceedings-Series_39.2.pdf
Abstract
INTRODUCTION
Modernism significantly altered women's traditional roles as homemakers, transforming domestic spaces. Modernist architecture elevated women's profiles from isolated kitchens to open-plan environments, reflecting changing societal attitudes. Julius Schulman’s iconic 1960 photograph “Case Study House #22 (Two Girls)” by Pierre Koenig shows two women in a modernist interior with floor to-ceiling windows overlooking Los Angeles. Despite the glamorous setting, the women appear isolated, indicating disconnection. The composition of Schulman’s photograph, driven by the male gaze, frames the women as passive subjects within an architectural showcase, highlighting their ornamental presence rather than agency.
Conversely, the portrayal of the Rigby. Mullan’s Greer/Frith House in Titirangi, Aotearoa, emphasizes openness and connection with the landscape. The empty seats suggest potential for social interaction, contrasting Schulman's isolation. Rigby. Mullan’s Greer/Frith Housework, less influenced by the male gaze, presents the domestic space as an active participant in social engagement. This paper examines these images’ eclecticism, comparing Schulman’s and Rigby.Mullan’s works through Walter Benjamin’s notion of aura highlight the interplay between architecture, gender, and societal values in the Modernist era.
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Architecture Media Politics Society (AMPS)
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