Sonia Terk Delaunay

Hradyzh, Ukraine, 1885 · Paris, France, 1979

Interiors by Casa Sonia
Madrid, Spain

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.

Margaret Kropholler

Haarlem, Netherlands, 1891 · Amsterdam, Netherlands, 1966

Atelier Roland Holst
Zundert, Netherlands

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.

Marie Kuyken

Haarlem, Netherlands, 1898 · 1988

Fire Screen
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
Ljubljana, Slovenia

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

Cocktail Shaker
Produced by C.G. Hallbergs Guldsmedsaktiebolag, Stockholm
Nationalmuseum, 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

Frankfurt Kitchen
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

Tea Set
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
Cologne, Germany

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

Glass Tableware
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.

Maria Cotescu

Bucharest, Romania, 1896 · 1980

Grivita Works
Bucharest, Romania

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.

Sonja Lapajne-Oblak

Ljubljana, Austro-Hungarian Empire, 1906 · Ljubljana, Slovenia, 1995

The Gimnazija Bežigrad High School
Ljubljana, Slovenia

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.

Martta Martikainen-Ypyä

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.

Lilly Reich

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.

Mary Crowley

Bradford, United Kingdom, 1907 · 2005

Plan of the Expanding Nursery School
Designed for Nursery Schools Association (NSA)
United Kingdom

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

Burgas Casinò
Burgas, Bulgaria

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.

Alexandra Paschalidou-Moreti

Istanbul, Turkey, 1912 · Filothei, Greece, 2010

Greek Pavilion
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.

Judith Ledeboer

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.

Liane Zimbler

Přerov, Austro-Hungarian Empire (Czech Republic), 1892 · Los Angeles, USA, 1987

Panzer Residence
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.

Greta Magnusson-Grossman

Helsinborg, Sweden, 1906 · Encinitas, USA, 1999

Interior of a Residence
California, USA

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
Oporto, Portugal

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.

Luisa Aiani Parisi

Cantù, Como, Italy, 1920 · 1990

Manufactured by Ariberto Colombo, Cantù, Italy
Distributed by La Ruota, Como, Italy

This sofa is a step in the way of developing industrially the skills of the artisanal wood companies in the Cantù district. It might set a starting point for the further growth of Italian modern furniture factories as Cassina or Zanotta.

Eva Ditsleven Koppel

Copenhagen, Denmark, 1916 · 2006

Beech Wingback Chair
Produced by Slagelse Møbelværk, Denmark

With its simple but playful and organic shapes, this chair can be considered a typical example of Danish 1950s design. It was designed in collaboration with Eva’s husband Nils Koppel and manufactured by Slagelse Møbelværk.

Elsi Naemi Borg

Nastola, Finland, 1893 · Helsinki, Finland, 1958

Lastenlinna Children’s Hospital
Mannerheim Society for the Protection of Children, Helsinki, Finland

The Children hospital is an example of a melt of the functionalist approach, typical of the interwar period and followed in differentiating the functions and using concrete structures (see Alvar Aalto), and the return back to the romantic ideals.

Anneliese (Anni) Fleischmann Albers

Charlottenburg (Berlin), Germany, 1899 · Orange (Connecticut), USA, 1994

Free-Hanging Room Divider
MoMA Museum of Modern Art, New York City, USA

This object is one of Albers-Fleischmann’s most experimental artefacts. Industrial textile production and abstract art are merged to form a functional furniture where the minimalist supporting structure and raw materials of the fabric provide aesthetic qualities.

Elena Luzzatto Valentini

Ancona, Italy, 1900 · Rome, Italy, 1983

Primavalle Market
Rome, Italy

The Primavalle Market is a work of Italian Rationalism and is one of the best known works by Elena Luzzatto Valentini. The structure is in reinforced concrete and has reinforced concrete arches supporting the covering. The light comes from big windows that are spread all over the whole upper perimeter.

Antonia Campi

Sondrio, Italy, 1921

Umbrella Stand Spaziale (C33)
Produced by SCI (Società Ceramica Italiana), Laveno, Italy

The ceramic umbrella stand Spaziale is a bridge between formal research in abstract sculpture and everyday items industrial and serial production, a mix of handicraft experimentation and mechanical manufacturing.

Franca Helg

Milan, Italy, 1920 · 1989

San Lorenzo Treasure Museum
San Lorenzo Cathedral, Genoa, Italy

The San Lorenzo Museum expresses the aim to enrich the history of the city, by inserting itself in its layering and connecting tradition to the necessity of using an updated language.

Jane Drew

Thornton Heath, United Kingdom, 1911 · Barnard Castle, Durham, United Kingdom, 1996

University of Ibadan
Ibadan, Nigeria

This is a construction where the architects have been able to combine and adapt the design to the particular needs of the African climate and the functionality of Modern Movement.

Tamara Davydovna

Dvinsk, Russian Empire, 1894 · Leningrad, Soviet Union, 1976

New Sochi Health Resort/Sanatorium
Sochi, Russia

The imposing complex of buildings marked by the monumental colonnades and offering views across the Black Sea coastline belongs among the typical examples of mid-century Stalinist architecture, a neo-classicist reaction against Constructivism of the 1920s and 1930s.

Stefania Filo Speziale

Naples, Italy, 1905 · 1988

Cattolica Assicurazioni Skyscraper
Naples, Italy

In 1954 Filo’s design of the Cattolica Assicurazioni Skyscraper (now: NH Hotel) won a competition that attracted important professional studios of that time. It was the highest building in Naples, a 30-floor building in reinforced concrete which at the height of 104m towered over the historic center of the city.

Alison Margaret Gill Smithson

Sheffield, United Kingdom, 1928 · 1993

House of the Future
Daily Mail Ideal Home Exhibition at the Olympia Hall in West London, United Kingdom

It was exhibited as the prototype of the suburban house that would be built 25 years later and it highlighted the trust in technology in the 1950s. The house was a utopic project designed to be pre-manufactured in the line of car industry products.

Lina Bo Bardi

Rome, Italy, 1914 · São Paulo, Brazil, 1992

MASP – The São Paulo Museum of Art
São Paulo, Brazil

The MASP expresses the intent made by Lina Bo Bardi to bring art closer to the general public. It had to give off an atmosphere that would allow the visitor to understand the work of art. The architect declared: “I did not search for beauty, I searched for freedom.” The MASP architectural solution is, in fact, direct and essential.

Annemarie Hubacher-Constam

Zurich, Switzerland, 1921 · 2012

Swiss Women’s Work Exhibition
Zurich, Switzerland

The second SAFFA exhibition (Swiss Women’s Work Exhibition) was held from July 17th to September 15th 1958 in Zurich, displaying the subject of women’s life and activities and presenting a showcase of contemporary female design and architecture in Switzerland.

Nanna Ditzel

Copenhagen, Denmark, 1923 · 2005

Hanging Egg Chair
Produced by Sika Design, Rynkeby, Denmark

Nanna and Jørgen didn’t need to get out of their home to find inspiration for her work. A close attention to the daily life, to the details that make up the domestic and familiar environment, combined with an abiding concern for comfort and freedom of movement led to the accurate perception that the opulent furniture that surrounded them was highly inadequate for the small post-war homes.

Grete Jalk

Copenhagen, Denmark, 1920 · 2006

Teak Lounge Easy Chair
Produced by France & Søn, Rynkeby, Denmark

From the 1950s, Grete Jalk designed a series of chairs exploring the possibilities of laminated wood and in 1960, France & Søns, one of Denmark´s greatest makers of furniture, produced an armchair made with wood frame that has sultry flared armrests and the Danish cable back which virtually disappears, giving the impression of a floating back cushion.

Teresa Kruszewska

Warsaw, Poland, 1927 · 2014

Reversible Child's Armchair
Produced by Mebloartyzm Cooperative, Wojnicz, Poland
National Museum, Warsaw

Reversible children’s chair is one of her first furniture projects that she designed for children. This furniture is marked by the beauty of its lines and proportion and lightness of its form, developed from the construction itself, and making full use of the material’s potential, non the less it’s multifunction as a toy.

Nataša Štupar-Šumi

Ljubljana, Slovenia, 1927

Rihemberk Castle Reconstruction
Branik, Slovenia

Rihemberk, the largest castle of the Slovene Littoral region, was built on a strategically important defence position above the former road from Vipava valley to the Adriatic Sea. In 1962 the reconstruction project was taken over and supervised by architect Nataša Štupar Šumi. Her work encompassed the entire Castle reconstruction with preserved architectural elements and appropriate transformation of interior for tourism.

Nives Kalin Vehovar

Ljubljana, Slovenia, 1932 · 2007

NKVFV Series of Wood Veneer Pendant Lights
Manufactured by Kalin Vehovar, Ljubljana, Slovenia

The organically shaped pendant lights combine function with sculptural interest, supplying interiors with softly diffused light. Distinguished by the innovative use of natural materials the series, created together with Franc Vehovar, belongs among most timeless examples of Slovenian design.

Janine Abraham

France, 1929 · 2005

Summer Home
Le Printemps Department Store, Paris, France

The work of Abraham declines the opposition between rough and invaluable materials, artisanal and industrial know-how. The model for Le Printemps was designed as a prototype of holiday home for the Paris region and it was presented to the exhibition 4 seasons, 4 houses organized by Saint-Gobain in 1964.

Ivanka Raspopović

Belgrade, Kingdom of Yugoslavia (today Serbia), 1930 · Belgrade, Serbia, 2015

Museum of Contemporary Art
Belgrade, Serbia

The Museum of Contemporary Art in Belgrade, joint work by Ivanka Raspopović and Ivan Antić, with expressive tectonics, rational geometric form, free plan, and interior that elevated visitors’ responses, set a benchmark for museum buildings design.

Maria Teresa Parpagliolo Shephard

Rome, Italy, 1903 · 1974

Hall Garden
RAI’s Headquarter, Rome, Italy

The project reveals the international experience of Parpagliolo and how she was receptive to new trends in landscape design and open to experiments. In 1966, she was commissioned for the design of a garden of the newly built headquarters of the state radio and television company RAI in Rome.

Anna Ferrieri Castelli

Milan, Italy, 1920 · 2006

Componibili modular system
Produced by Kartell, Milan, Italy

The design idea of the Componibili modular system, renowned as icon of the 1960s, is the elementary and resistant vertical stacking of single modular elements which, by means of an easy joint, form super-functional containers.

Jadwiga Grabowska-Hawrylak

Tarnawce, Poland, 1920

Sedesowce – Manhattan Housing Units
Wrocław, Poland

In 1974 Jadwiga Grabowska Hawrylak received an honorary prize from SARP (Association of Polish Architects) for the project Sedesowce, the housing units in Wrocław. They are an impressive example of modern housing, surprised by its blend of surfaces and models, in an almost Op art pattern.

Maria Helena Matos

Lisbon, Portugal, 1924 · 2015

Japão Service – Jar, Bowl and Plate
Produced by Fábrica-Escola Irmãos Stephens (FEIS), Marinha Grande, Portugal

This service, on blown moulded crystal, reflects a modern research guided by a formal depuration and, on a tireless pursuit for the potential of the specific language of the material, enriched by the abstract patches of colour in transparent glass.

Nanda Vigo

Milan, Italy, 1936

Golden Gate Floor Lamp
Produced by Arredoluce, Monza, Italy

A superb structure of light that slashes through space, Golden Gate is the embodiment of Nanda Vigo’s experiments with mirrored surfaces and new light sources that explore the relationship between objects and spaces.

Cini Boeri

Milan, Italy, 1924

Serpentone – Giant Snake Sofa
Produced by Arflex, Giussano, Italy

This furniture epitomises Cini Boeri’s design discourse focused on the respect of user’s lifestyles. Her concept of design is minimalist and is based on the social role of the architect. Like a giant snake, the sofa twists and turns following concave and convex curves.

Blaženka Staroveški Kučinac

Rogaška Slatina, Kingdom of Yugoslavia (Slovenia), 1937

Children’s Bedroom Furniture Pipi
Produced by Ivo Marinković Furniture Factory, Osijek, Croatia

The system of children’s bedroom furniture was designed to adapt to the growing child and represents an innovative solution of wooden joints and sophisticated integration possibilities. Small interventions transform the baby’s crib into a child’s bed, a desk and wardrobe, adjusting to the child’s needs.

Ljiljana Vučović Bakić

Belgrade, Serbia, 1939

Pioneer Sports Hall
Belgrade, Serbia

The Pioneer Sports Hall, now called the Aleksandar Nikolić Sports Hall, represents an icon of the 1970s Postmodern Belgrade architecture, intriguing the observer with its stratified structure, the use of colour, brick and concrete.

Sigrid Zschach Kressmann Losito

Leipzig, Germany, 1929 · Berlin, Germany, 1990

Steglitzer Kreisel
Berlin, Germany

The Steglitzer Kreisel is one of the largest office buildings of Berlin and also one of its most controversial landmarks. It became a symbol of the flawed speculative housing development projects of the 1960s and 1970s in West-Berlin during a time of housing shortage.

Charlotte Perriand

Paris, France, 1903 · 1999

Bloc cuisine Les Arcs
Centre Georges Pompidou, Paris

The Bloc cuisine is a historic record of the interior arrangement of the Modernist buildings conceived by Charlotte Perriand and an architects’ team in the ski resort of Les Arcs, in the French Alps. It is typical of the reflection undertook by architects and functionalist designers on the rational arrangement of reduced internal spaces and the use of modern materials and solid colours.

Ursulina Witte Schüler

Berlin, Germany, 1933

Tower Restaurant Steglitz
Berlin, Germany

Known locally as Bierpinsel (Beer Brush), it has three floors originally equipped with restaurants and a nightclub. It has a height of 46 m with a shape resembling that of an observation tower, but the architectural idea was that of a tree.

Lucie Quirina Bakker

Rotterdam, Netherlands, 1915 · Lochem, Netherlands, 2003

Quirina Tableware
Produced by Royal Tichelaar Ceramics Factory, Makkum, Netherlands

The Quirina Tableware is typical for the post-war transition from handcrafted pottery to serial production within the field of ceramics. Lucie Bakker turned from handicraft to serial production in the first place to earn a living.

Nel Verschuuren

Valkenswaard, Netherlands, 1943 · Amsterdam, Netherlands, 2016

Murtala Muhammed Airport Seating Unit
Lagos, Nigeria
Produced and manufactured by Artifort, Maastricht, Netherlands

The Lagos bench was originally designed for the interior of the Murtala Muhammed Airport terminal in Lagos, Nigeria, which Verschuuren designed with Naco Thijs Veldman in 1977-1978. Many redesigns of the bench followed and the benches became popular seating units for all kinds of public waiting areas around the world.

Hildegard Auf Franić

Zagreb, Croatia, 1941

Faculty of Agriculture, Pavilion V
Zagreb, Croatia

Within the existing urban axis of the International style pavilions set in clear and firm direction, the author here halts the pedestrian movement by setting her pavilion aside of the axis and creating an ‘open forum’ that intended to stimulate the outdoor activities of the students.

Simone Hoa Guillissen

Beijing, China, 1916 · Brussels, Belgium, 1996

Community Arts Center
Tournai, Belgium

Organized around a central atrium, the building combines various services: a library, exhibition spaces, cultural workshops, a brasserie and a magnificent theater.

Marianne Dahlbäck

Gävle, Sweden, 1943

Vasa Museum
Stockholm, Sweden

The Vasa Museum houses the warship Vasa from 1628, which sank on her maiden voyage and was in 1961 after 333 years at the bottom of Stockholm bay lifted and salvaged. The preserved Vasa was moved into an old dry dock over which the museum was built, which allows observers to see the ship from a variety of perspectives.

Teresa Nunes da Ponte

Lisbon, Portugal, 1955

Toca da Areia Residential Complex
Cascais, Portugal

It is possible to notice modernist features on the plant, such as the presence of flat roofs, which give place to a game with the different planes and create light and shadow games, adapted to the geographic location of an area near the coastline and a dense pine forest, between Cascais and Guincho.

Oľga Škvarková Ondreičková

Bratislava, Czechoslovakia (Slovakia), 1935

District Post Office
Prague, Czech Republic

The District post office belongs to the very few works of architecture realised by Slovak architects outside the territory of Slovakia. Being designed by a woman it is even more exceptional.

Viera Štarková Mecková

Turčianske Teplice, Czechoslovakia (Slovakia), 1933

Communist Party Regional Committee Offices
Žilina, Slovakia

The huge edifice of the local Communist Party Committee became most significant work of Viera Mecková and one of the most important achievements of the late modernism in Slovakia.

Nathalie Du Pasquier

Bordeaux, France, 1957

Emerald Sideboard
Memphis collection
Produced by Memphis, Italy

This object is one of her main designs and essential symbol of her involvement in the Memphis Group. It’s the proof of her ability to adapt to most different requirements and to range among many forms of expression.

Gae Aulenti

Palazzolo della Stella (Udine), Italy, 1927 · Milan, Italy, 2012

D’Orsay Museum
Paris, France

The exhibition itinerary has been organised on three levels and the central nave of the pre-existing station has been reused as the main axis from where passages and terraces run. The choice of light-coloured limestone is worthy of note, giving a particular brightness to the exhibition halls.

Hanne Dam Kjærholm

Hjørring, Denmark, 1930 · 2009

Island of Læsø, Denmark

The summerhouse on Læsø is a poetic reinterpretation of the vernacular architecture present on the island between Sweden and Denmark. This summerhouse is exemplary of how Kjærholm considered architecture as a harmonious whole in which materials, the interplay of daylight and interior decoration should be carefully thought out.

Verena Dietrich

Wetzlar, Germany, 1941 · Schwerte, Germany, 2004

Höhenberg Sportspark Spectator Tribune
Cologne, Germany

This tribune reflects the architect’s passion for metallic materials and for their application to building. One of the most interesting features of this work is its attention to the alignment of shapes and structures which is reflected in recurring geometrical scheme.

Andrée Putman

Paris, France, 1925 · 2013

Office of Commission des Droits de l’Homme
Arche de la Défense, Paris, France

Putman was commissioned in 1989 to fit out and decorate the top floor of the Grande Arche de la Défense in Puteaux, in the outskirts of Paris. For the institution’s library, Putnam designed the staircase banister in brushed metal with a bronze patina finish, resting on a column and running the entire length of the loggia.

Edith Girard

Paris, France, 1949 · 2014

Residential Building and Dunois Theatre
Paris, France

With its complex composition and an accessible terrace, the building was intended to be a homage to the architecture of Le Corbusier, while at the same time evoking a revisited Haussmanian tradition, owing to the rotunda on the corner of the triangle.

Francine Houben

Sittard, Netherlands, 1955

House with a Studio
Kralingse Plaslaan, Rotterdam, Netherlands

Houben created this house to serve as her own residence in Rotterdam, using the surrounding landscape as an influence for its design.

Patricia Leboucq

Paris, France, 1957

Residential Building
Paris, France

That building is typical of the urban construction of apartment buildings in Paris at the end of the twentieth century- As a whole this project attests to the common language for residential buildings in the last decade of the twentieth century, found in many projects: modest and somewhat banal modernity that complies with the constraints of Parisian town planning.

Zaha Hadid

Baghdad, Iraq, 1950 · Miami, USA, 2016

Vitra Fire Station
Vita Capus, Weil am Rhein, Germany

The Vitra Fire Station is Zaha Hadid’s first building and reflects her theoretical studies on Deconstructivism, aiming to manifest the idea of motion in time.

Amanda Levete

Bridgend, South Wales, United Kingdom, 1955

Docklands Floating Bridge
London, United Kingdom

A piece of innovation in architecture that brings together the most modern and financial oriented part of the city with the industrial area hosting nineteenth century buildings. A bridge from the future that links the past and the present.

Fiona Raby

Singapore, Singapore, 1963

Faraday Chair
Victoria & Albert Museum, London

This work reflects the conceptual design of Dunne & Raby. The plastic chair is in fact a translucent tank, and orange acrylic box, a space a person can retreat to in order to be protected from the electrical and magnetic fields existing in modern life.

Laura Carducci

Geneva, Switzerland, 1960

Nursery School Jean de la Fontaine
Mitry – Mory, Seine-et- Marne, France

The school by Carducci is typical of the architectural vocabulary of the modernist tradition inspired by Le Corbusier.

Judith Rataitz

Vienna, Austria, 1960

Cold Dish Table Set: Cutting Board and Brunch Containers
Museum of Architecture and Design (MAO), Ljubljana

A variable, versatile table concept consisting of brunch container, block with plates and breakfast container all stacked in a space preserving unit is made from porcelain and partly from walnut wood.

Catherine Furet

Mulhouse, France, 1954

Residential Buildings
Paris, France

This housing scheme witnesses the transformation of the collective housing in the 1980s, with the search for modest solutions of urban insertion Overall it gives the impression of being an architectural paradox: a large complex on a human scale.

Irena Bajerska

Cisównica, Poland, 1943

Rooftop of the University Library
Warsaw, Poland

The Warsaw University Library new building by architects Marek Budzyński and Zbigniew Badowski was opened on December 15th, 1999 and includes a botanical garden, located on the roof, designed by Irena Bajerska. Opened to the general public, it is one of the largest roof gardens in Europe that is also an urban park.

Benedetta Tagliabue

Milan, Italy, 1963

Hamburg School of Music
Hamburg, Germany

This work represents the idea of ʽbalance between fragmented and revolutionary aesthetics and the respect for the tradition of the placeʼ that is frequently pursued by Tagliabue in her career.

Odile Decq

Laval, France, 1955

Rome’s Museum of Contemporary Art – MACRO
Rome, Italy

Rome’s Museum of Contemporary Art allows visitors to observe the city and the urban surrounding context from a new viewpoint. Through an innovative renovation of the former Peroni beer brewery (1864), the architecture aims to provide an experience of discovery for the visitors.

Patricia Urquiola

Oviedo, Spain, 1961

Fjord Chair
Produced by Moroso, Udine, Italy
Museum of Modern Art, New York City

This chair was one of the first projects for the Italian furniture brand Moroso and one of the first works from Studio Urquiola; it was also a tribute to modern Scandinavian design.

Catarina Raposo

Lisbon, Portugal, 1974

Volcano Pavilion and Water Gardens
St. Vincent, Madeira, Portugal

Intended as an extension of the Volcanism Museum, the park was conceived simultaneously as the Museum’s open space and a viewpoint to the ocean. It offers both a learning experience, which complements the museum programme, and a site for landscape fruition for the city dwellers.

Mary Reynolds

South of Ireland, 1974

Brigit’s Garden
Rosscahill, Ireland

Magic, mythology and Celtic culture are the three premises to be found in Brigit’s garden. This is an emblematic place that has been able to combine the essence of life and death through nature, biodiversity and Irish tradition.

Gunilla Svensson

Lund, Sweden, 1956

Apartment building Kv Skötaren
Lund, Sweden

The basic concept of this project is simplicity and attention to detail achieved with modular units and prefabricated elements. This work shows Svensson’s commitment to connecting architecture and its location through an accurate use of materials and natural light.

Blanca Lleó

Madrid, Spain, 1959

97 Houses for Young People
Barcelona, Spain

This project consists of 97 flats to be rented by young people. It was developed in moulds in order to improve time and material savings, using concrete for the structure and exterior panels, thus designing a sustainable system without debris.

Manuelle Gautrand

Marseille, France, 1961

Citroën’s Showroom
Paris, France

The architect chose to treat the project as a transparent showcase allowing the centrally-situated monumental sculpture to be visible from the road. The façade is based on the double chevron, the firm’s symbol, surmounting the entrance porch and then repeated higher up.

Inês Lobo

Lisbon, Portugal, 1966

Francisco Rodrigues Lobo High School
Leiria, Portugal

From the existing building, Inês Lobo’s project three vertical volumes rose, connecting them in an almost monastic way, in defence of clarity and the placidity of the experience that is inhabiting a space.

Sheila O’Donnell

Dublin, Ireland, 1953

Lyric Theatre
Belfast, Ireland

It is one of the buildings that addresses the specific functional needs of a theatre and it was adapted to the particular plot where a previous building was located. The singular style and the quality of the building translated into a nomination to the RIBA Stirling Awards.

Christine Conix

Lier, Belgium, 1955

Belgian EU Pavilion
Expo 2010, Shanghai

She chose to structure the pavilion around the conceptual image of a huge brain cell, using transparent textile, which evokes the artistic wealth of Belgium and Europe as well as the central position of Belgium at the heart of Europe.

Eva Jiřičná

Zlín, Czechoslovakia, 1939

Zlín Culture and Congress Centre
Zlín, Czech Republic

The multi-purpose Centre in Zlín is epitome of Eva Jiřična’s innovative work using glass and steel in both, architectural and interior design.

Liana Nella-Potiropoulou

Athens, Greece, 1959

Kindergarten of the German School of Athens
Maroussi, Athens, Greece

It is a building that evokes surprise, inviting for a youthful imagery, for hiding, seeking and wandering, where children can play in a well-controlled environment which nurtures the mental and emotional reflexes of the child.

Kostantia Manthou

Thessaloniki, Greece, 1983

Royal Ceramica Pavilion
Cersaie, Bologna, Italy

The overlaying of geometric forms and motifs provided by not only the walls but also by the “floating” blocks of marble create an almost maze-like path and the lighting becomes an important contribution element to this intriguing, yet sober environment.

Helga Snel
Jeanne Dekkers

Koog aan de Zaan, Netherlands, 1966
Venlo, Netherlands, 1953

Care and well being centre Tamarix
Developed for the Philadelphia Care Foundation
Heerhugowaard, Netherlands

The care and well-being centre consists of social care homes and rental apartments. They are added to an existing neighbourhood in the town of Heerhugowaard, a town which since the late 1960s grew into a commuters’ town and today keeps on expanding with environmental-friendly building and living areas.

Ilse Crawford

London, United Kingdom, 1962

Sinnerlig Collection
Produced by IKEA, Sweden

This collection, which includes furniture, lighting and tabletop combines all the aspects of the IKEA system: development of a production process, use of sustainable materials, design and logistics which guarantee a nice design that is affordable for the general public and meets daily needs.

Marlies van Dullemen

Den Haag, Netherlands, 1959

Produced by Novuqare, Rosmalen, Netherlands
Designed by npk design, Leiden, Netherlands
Designed for Livassured in Vught, founded by UMC Utrecht, Kempenhaeghe, SEIN, Netherlands
Designed by npk design, Leiden, Netherlands

Both projects are developed in a collaborative team of designers working with npk design. npk is an internationally operating design bureau which has designed a wide variety of projects for transportation, leisure, health & care, professional equipment, sports, signage and more.

Carme Pinós

Barcelona, Spain, 1954

Gardunya Square Project
Barcelona, Spain

This project is introduced by the author as a landscape. A project for a place; it combines architecture and urbanism in the centre of Barcelona and can be regarded as one of the best examples of the work of Carme Pinós and Spanish architecture.