Sonia Terk Delaunay
Hradyzh, Ukraine, 1885 · Paris, France, 1979
Interiors by Casa Sonia
Decorative works performed by Sonia Delaunay in Madrid from 1918 onwards, when she opened Casa Sonia in Madrid, engaged in interior design and her characteristic simultaneous designs.
Haarlem, Netherlands, 1891 · Amsterdam, Netherlands, 1966
Atelier Roland Holst
Kropholler originally designed this building as a studio for the artist Richard Roland Holst and his wife, the politically active poet Henriëtte Roland Holst-van der Schalk. The design is an early example of the Amsterdam School style.
Adelgunde (Gunta) Stölzl
Munich, Germany, 1897 · Küsnacht, Switzerland, 1983
Produced by the Bauhaus Weaving Workshop, Weimar
Bauhaus-Archiv Museum, Berlin
This pillowcase epitomises Stölzl’s experimentation in designing aesthetically modern and functional daily life homeware textiles, characterised by raw materials and abstract patterns of multiple colours.
Haarlem, Netherlands, 1898 · 1988
Produced by Willem A. Kuyken Workshop, Haarlem
Collection Stedelijk Museum, Amsterdam
This fire screen is an example of the application of decorative panels which were made in so-called cloisonné technique. These panels were designed by Marie Kuyken between 1919 and 1925 and handmade by her father Willem A. Kuyken. Most panels were unique pieces.
Helena Kottler Vurnik
Vienna, Austro-Hungarian Empire, 1882 · Radovljica, Yugoslavia (Slovenia), 1962
Decoration of the Cooperative Business Bank
The uniquely stylized decoration of the Cooperative Business Bank in Slovenian national style, which anticipated Art Deco, is Helena Vurnik’s most important profane work.
Alma Buscher Siedhoff
Kreuztal, Germany, 1899 · Buchschlag, Germany, 1944
Toy Closet for the House am Horn Children’s-Room
Produced by the Bauhaus Woodcarving Workshop, Weimar
Klassik Stiftung, Bauhaus-Museum, Weimar
This toy closet is considered the first true demonstration of the Bauhaus’s modernist principles in furniture construction and epitomises Buscher’s belief in the potential of design-for-children to effect change in society at large.
Marianne Liebe Brandt
Chemnitz, Germany, 1893 · Kirchberg, Germany, 1983
Ashtray with Cigarette Holder
Produced by the Bauhaus Metal Workshop, Weimar
Bauhaus Archive – Museum of Design, Berlin
Liebe Brandt’s ashtray is one of the first objects produced at the Bauhaus’ metal workshop, where she was the only woman to have ever worked putting into practice the Bauhaus Weimar methodology of simplifying the design process for future mass-production.
Sylvia Gatt Stave
Växjö, Sweden, 1908 · Paris, France, 1994
Produced by C.G. Hallbergs Guldsmedsaktiebolag, Stockholm
This object is a significant example of the modern design that flowered between the two World Wars. Strongly influenced by the Bauhaus movement, Stave’s cocktail shaker represents a unicum of its kind.
Margarete (Grete) Lihotzky Schütte
Vienna, Austria, 1897 · 2000
Produced by the New Frankfurt social housing program, Frankfurt
Victoria and Albert Museum, London, et al.
This kitchen – minimal in its size, however rational and efficient – was conceived as one of the first steps toward a better and more egalitarian world. Regarded as the forerunner of modern fitted kitchens, it is a milestone in history of interior design.
Elizabeth Whitworth Scott
Bournemouth, United Kingdom 1898 · 1972
Shakespeare Memorial Theatre
Stratford-upon-Avon, United Kingdom
The Shakespeare Memorial Theatre was the first relevant work allocated to a female architect in a public call for tender; in addition, it was one of the first buildings designed under the parameters of the Modern Movement.
Louise (Lux) Guyer
Zurich, Switzerland, 1894 · Küsnacht-Itschnach, Switzerland, 1955
Masterplan of SAFFA Exhibition
Schweizerischen Ausstellung für Frauen Arbeit. Swiss Women’s Work Exhibition, Bern
The first SAFFA exhibition was initiated by several federations of Swiss women’s societies to publicise the importance of work performed by women in artistic, scientific, social and economic fields and support their campaign for political equality. Lux Guyer was commissioned to design the master plan of the vast exhibition area (113,000 m²) as well as to develop concepts for the exhibition halls and orientation system.
Kathleen Eileen Moray Gray
Enniscorthy, Ireland, 1878 · París, France, 1976
Maison en bord de mer E-1027
Cap-Martin, Roquebrune, France
Considered a landmark of modern architecture and the theories of the Modern Movement, the house was designed in collaboration with her boyfriend at that time, the Rumanian architect Jean Badovici as their own home, a prototype of a domestic space that goes beyond Rationalism.
Margarete (Grete) Heymann Marks Löbenstein
Cologne, Germany, 1899 · London, United Kingdom, 1990
Glazed stoneware, produced by Haël Werkstätten für Künstlerische Keramik, Marwitz, Germany
The tea set, emblematic of a new Modernist language in mass produced objects, is the most iconic piece designed by Margarete Heymann (former Löbenstein and Marks), a German ceramic artist who trained at the Bauhaus, and manufactured by Haël Werkstätten, the factory she founded in 1923.
Ruth Hildegard Geyer-Raack
Nordhausen, Harz, Germany 1894 · Berlin, Germany 1975
Lady’s Living Room and Bedroom
Dame, Internationale Raumaustellung
This living room and bedroom is the perfect combination of French Art Deco and German Bauhaus School. Curtains are used to define the space and divide the room if necessary in two separate places, having the living room as a social and public space, and the bedroom as a more private place.
Aino Maria Marsio Aalto
Helsinki, Finland, 1894 · 1949
Produced by Karhula–Iittala, Helsinki, Finland
Within a search for versatility and space-saving, this glassware proves that essential and functional design can survive the test of time. The collection represents a good synthesis of the functionalist principles that aim to improve everyday life.
Bucharest, Romania, 1896 · 1980
The building Grivita Works, which is part of the industrial complex designed for the Romanian Rail Company, is a hallmark of Modernism in Romania and one of the most representative examples of this type of architecture.
Ljubljana, Austro-Hungarian Empire, 1906 · Ljubljana, Slovenia, 1995
The Gimnazija Bežigrad High School
The Gimnazija Bežigrad High School in Ljubljana is the first school building in the world to be planned without corridors. The innovative architectural design effectively combines benefits of natural light, good air flow, spaciousness and connection with nature.
Iisalmi, Finland, 1904 · Helsinki, Finland, 1992
Motor Battalion Barracks and Garage
Ministry of Defence, Helsinki, Finland
Functionality, durability and improved hygiene were the key issues sought by the Ministry of Defence of Finland in the 1930s. In that time, the building office employed about ten women.
Berlin, Germany, 1885 · 1947
Thonet Small Armchair
Produced by Thonet, Germany
The Thonet small armchair represents one of the most significant work in the fruitful career of Lilly Reich. This innovative piece of furniture epitomises Reich’s idea of interior design as a creative process in which art and technique are closely combined.
Bradford, United Kingdom, 1907 · 2005
Plan of the Expanding Nursery School
Designed for Nursery Schools Association (NSA)
The design, known as ‘the expanding nursery school’, was intended to be mass produced. Its intentions reflected the enlightened thinking of the time in relation to preschool facilities. It was of the pioneering designs in the field of school architecture in Europe.
Victoria Angelova Vinarova
Veliko Tarnovo, Bulgaria, 1902 · Sofia, Bulgaria, 1947
With its rational geometric shapes and white plaster, the building is a typical International style architecture characterized by mixed structure of reinforced concrete and masonry.
Istanbul, Turkey, 1912 · Filothei, Greece, 2010
New York World’s Fair
Flushing Meadows – Corona Park, New York City, USA
The Greek pavilion needed to reflect the Weltanschauung of General Ioannis Metaxas dictatorship, a totalitarian regime with nationalistic and militaristic features (1936–1941). Alexandra and her husband Dimitris had the mission to embody this vision of Greek past conceptualized as myth in their project.
Susan (Susie) Cooper
Stoke-on-Trent, United Kingdom, 1902 · Isle of Man, United Kingdom, 1995
Kestrel Tea Set
Produced by Susie Cooper Potteries, Burslem, United Kingdom
Kestrel Tea Set is one of the most reproduced tea sets designed by Cooper. The set was designed under a clear Art Deco style with endless decorative variations on a ceramic model.
Almelo, Netherlands, 1901 · Hampshire, United Kingdom, 1990
Produced by Gordon Russell Ltd, London, United Kingdom
Victoria & Albert Museum, London
This is an excellent example of the so-called “Utility Furniture”, produced in the United Kingdom during the Second World War. Due to the lack of raw materials, functional and simple pieces were used.
Přerov, Austro-Hungarian Empire (Czech Republic), 1892 · Los Angeles, USA, 1987
Beverly Hills, California, USA
This building is a remarkable example of the activity developed by Jewish women exiled in the United States. This architect had developed her expertise in Vienna and Prague, and proposed an interior design which relied on interconnected open spaces and comfortable modern furniture.
Helsinborg, Sweden, 1906 · Encinitas, USA, 1999
Interior of a Residence
This interior design represents the link between the European design and the Californian way of life, amalgamating her training in Swedish design and the American sense of comfort. The image shows her peculiar decorative, unpretentious style, combining the functional Scandinavian style with the traditional joinery.
Rita Fernández Queimadelos
Pontevedra, Spain, 1911 · Barcelona, Spain, 2008
Restoration of the Patronato de Protección de la Mujer
Designed for Board for Women Protection, San Fernando de Henares, Spain
This project was developed by one of the pioneers of female architecture in Spain and is a representative example of post-war architecture and the ideology promoting it.
Maria José Marques da Silva
Oporto, Portugal, 1914 · 1996
Palácio do Comércio
A versatile building, for services and leisure, the Palace of Commerce in Oporto knew many projects (the first of them made in 1940 by architect and town planner David Moreira da Silva), but the ones thought and designed by the couple between 1944 and 1946 (already signed by both), would determine the beginning of its construction in 1946.