Do Women Design Differently than Men? The influence of Phyllis Birkby on Design Practice.

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Women make innovative and profound contributions to the world of architecture and design. Architects such as Dame Zaha Hadid, the first woman to win the Pritzker Prize in 2004, are an inspiration to women in the field.

Public Farm 1 by WORKac at MOMA PS1 Contemporary Art Center, Long Island City, NY 2008, Photo by Anne Jessye, CREATIVE COMMONS ATTRIBUTION 2.0

Many women bring a unique perspective, interest, and understanding of architectural space and how it interacts with the natural world around it. Architects such as Amale Andros, Dean of Colombia University's Graduate School of Architecture Planning and Preservation (GSAPP), also the co-founder of WORKac; an architectural organization that seeks to re-imagine architecture "at the intersection of the urban, the rural, and the natural."(1) Maya Lin is an architect, land artist, and sculptor whose work centers on nature and sustainability with the goal "of making a place for individuals within the landscape."(2)

Environmental Art "Flutter" by Maya Lin, Soil and St. Augustine grass, 459 x 105 feet, U.S. Courthouse, Miami, Florida, 2005, Photographs in the Carol M. Highsmith Archive, Library of Congress, Prints and Photographs Division; Forms part of the Carol M. Highsmith Archive, PUBLIC DOMAIN

This shift in thinking reflects the changes that were happening within American society and contemporary culture during the 1960s and 70s. Phylis Birkby belonged to this earlier generation of lesser-known women architects; who made important contributions to the innovative ideas emerging within women and queer-led collectives at the time.

Born in 1932 in New Jersey, Noel Phyllis Birkby showed an interest in architecture as a child. At the time, she was discouraged from pursuing a career in architecture because she was a woman, so she decided to study Art instead. It wasn't until 1958, when Phyllis had a chance meeting with a woman architect who encouraged her to pursue formal training, that Phyllis considered architecture as a career. In 1959 she enrolled in night classes at the Cooper Union School of Architecture, and in 1966 she enrolled in the graduate program at Yale, where she was one of only six women in a class of 200.

Waterside Plaza in Manhattan, image courtesy of Pexels, Photo by Life of Pix, CREATIVE COMMONS ZERO (CC0)

From 1966 to 1972, Phyllis worked for the Davis Brody and Associates firm in New York City. She contributed to significant projects such as the Long Island University Library Learning Center in Brooklyn and the Waterside Plaza in Manhattan during this time. The Long Island University Library Learning Center was not designed as one cohesive campus, which made it a unique project. Instead, it was a collection of buildings that had to be somehow connected. She described this as "designed more as fabric than a building"(3) as her design sought to "knit" or "weave" the buildings together. The use of descriptive metaphors such as weaving and knitting often occurs in the written work of Phyllis Birkby. This is a conscious reference to what was traditionally considered "women's work" and thus not viewed as a relevant or important viewpoint within architectural design at the time.

Women knitting, vocational studies public schools, Photographer Unknown, taken between 1918 and 1920, National Photo Company Collection, Gift; Herbert A. French; 1947, PUBLIC DOMAIN

In 1973 Phyllis Birkby came out publicly as a lesbian and resigned from her job at Davis Brody Associate to start her independent architectural practice. She started participating in feminist consciousness-raising groups, which led to developing a series of environmental fantasy workshops in the mid-1970s to "discover the unique perspective women could bring to the built environment."(4) This innovative approach to conceptual architectural drawing led her to re-think the relationship between architecture, nature, and how these spaces interact.

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In 1974 Phyllis co-founded the Women's School of Planning and Architecture (WSPA) with fellow architects and designers Katrin Adam, Ellen Perry Berkeley, Bobbie Sue Hood, Marie I. Kennedy, Joan Forrester Sprague, and Leslie Kanes Weisman. The WSPA was an "influential experimental summer school for women in environmental design professions and trades."(5) The first session of classes was held in Maine in 1975, and the second in Santa Cruz in 1976. The group chose to hold classes in locations with a robust natural environment (often holding classes on the beach) or buildings with a neutral presence.

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This school provided an alternative and active learning experience fostering community and inspiring innovation amongst women in environmental design. Participants were encouraged to approach design through an investigation of their personal identity and an awareness of the "way we see form and the way we react to design issues from our personal perspective" Phyllis called this awareness an "environmental self-portrait."(6)

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This new approach to architecture and its relationship with the natural environment Phyllis Birkby developed manifest in several of her projects. One of these was a commission in Long Island to build a studio for a friend that was a sculptor. There were no formal drawings made for this project, only conceptual. The structure was built organically over time, figuring out issues and construction as they progressed. The building included a large skylight to maximize access to natural light within the space and bring the surrounding natural environment into the building.

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Large windows which capture beautiful views of natural landscapes were also a design feature of a house that Phyllis designed by the ocean in the Hamptons. The original design for this house included frameless corner windows, which would capture beautiful scenic views of the surrounding ocean. When designing this building, Phyllis also considered how someone would move from the interior of the house out into nature, from the deck to the woods, to the ocean.

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Phyllis Birkby made an important contribution to the visibility of queer women within architecture in many ways. She was a member of and held conferences for the Organization of Lesbian and Gay Architects and Designers in NY (OLGAD); in 1972, she helped found the Alliance of Women in Architecture, a group aimed to bring a sense of inclusion and cohesion to the burgeoning community that was women in architecture. The Alliance of Women in Architecture provided a safe space where emerging and established women in the architectural field could engage and thrive.

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Although the Alliance of Women in Architecture disbanded in the 1990s, the legacy and work of organizations such as this lives on. When this group was founded in 1972, less than 2% of registered architects in the United States were women. That number today has grown to 23.3%, and some of the most prestigious architecture programs in the country have appointed women as deans or directors (Colombia, Yale, Princeton, Berkley, the University of Virginia, and the University of California).

Works Cited

1. WORKarc. “About.” About - WORKac, https://work.ac/about/.

2. “Women in Architecture : 10 Successful Female Architects You Should Know.” Arch2O.Com, 20 Aug. 2021, https://www.arch2o.com/women-in-architecture-10-successful-female-architects-you-should-know/.

3. Schroeder, Stephanie. “Noel Phyllis Birkby.” Now What?! Advocacy, Activism & Alliances in American Architecture Since 1968, Now What?! Advocacy, Activism & Alliances in American Architecture Since 1968, 31 Oct. 2019, https://www.nowwhat-architexx.org/articles/2018/3/18/noel-phyllis-birkby.

4. “Birkby, Phyllis.” Birkby, Phyllis - Social Networks and Archival Context, https://snaccooperative.org/view/10020062.

5. “Birkby, Phyllis.” Birkby, Phyllis - Social Networks and Archival Context, https://snaccooperative.org/view/10020062.

6. “Alberto Bertoli & Phyllis Birkby (1980).” YouTube, YouTube, 25 Sept. 2017, https://www.youtube.com/watch?v=7O5d4OD41oA.

Further Resources

1. Vider, Stephen. “Fantasy Is the Beginning of Creation.” PLATFORM, PLATFORM, 27 June 2022, https://www.platformspace.net/home/fantasy-is-the-beginning-of-creation.

2. “Public Farm One at MOMA PS1.” Architect, 7 Feb. 2014, https://www.architectmagazine.com/project-gallery/public-farm-one-at-moma-ps1-3673.

3. “Building Sisterhood: How Feminists Sought to Make Architecture a Truly Collective Endeavor.” Metropolis, 9 Sept. 2021, https://metropolismag.com/viewpoints/women-feminism-american-architecture/.

4. “Gender in the Architecture Profession.” Architecture Careers Guide, 9 July 2020, https://www.archcareersguide.com/gender-in-the-architecture-profession/#:~:text=Currently%2C%20only%2017%20percent%20(2020,of%20registered%20architects%20are%20women.%E2%80%9D.

5. “Architect Demographics and Statistics [2022]: Number of Architects in the US.” Architect Demographics and Statistics [2022]: Number Of Architects In The US, 9 Sept. 2022, https://www.zippia.com/architect-jobs/demographics/.

6. The American Institute of Architects: Status of Women in The Architectural Profession. Task Force Report 1975. The American Institute of Architects, https://content.aia.org/sites/default/files/2018-03/Archives_StatusWomenArchitecturalProfession_1975.pdf.

Sarah Barnard is a WELL and LEED accredited designer and creator of environments that support mental, physical and emotional wellbeing. She creates highly personalized, restorative spaces that are deeply connected to art and the preservation of the environment. An advocate for consciousness, inclusivity, and compassion in the creative process, Sarah has appeared in Architectural Digest, Elle Décor, Vogue, HGTV and many other publications. In 2017 Sarah was recognized as a "Ones to Watch" Scholar by the American Society of Interior Designers (ASID). 

Secluded Staycations: Luxe, Little Known, Los Angeles Birding

One of the most rewarding aspects of birding is finding new and unexpected spots to point your binoculars. Bird enthusiasts in Los Angeles have an abundance of options when it comes to the sheer diversity of bird species and places to observe them in the local region, but the hunt for new places to explore is always part of the fun, and the more unlikely the better.

One surprising alternative to the same heavily trafficked parks and hiking trails is hidden in plain sight—some of the best hotels in the L.A. area feature spectacular birding from the comfort of their grounds and even the privacy of their rooms. In this time when we find ourselves keeping closer to home, these hotels offer opportunities for tranquil birding staycations without risking travel or crowds.

A Quiet Canyon Retreat

The Hotel Bel Air is a birder’s paradise with Old Hollywood pedigree tucked away in the canyons. The Bel Air has an elegant and distinctly Southern California style, updated in 2011 with a more contemporary feel that still nods to its rich history. The best birding at the Bel Air is on the canyon side rooms, which attract a host of avian visitors to their secluded private patios.

If you want to stretch your legs, the grounds of the Bel Air are extensive and designed almost like a botanic garden, with plant species labeled and ample room for observing the wildlife attracted to the lush foliage. One of my favorite garden flowers at the hotel is the pink abutilon that trails along the walking paths on the lake side of the property. The lake itself draws a variety of indigenous waterfowl and is also home to the Bel Air’s beloved swans, whose images appear as a recurring motif throughout the hotel. The Swan Lake Suite (a favorite of Cary Grant and Gene Kelly) boasts a breathtaking view of its namesake.

Greener Pastures on the East Side

The Langham in Pasadena is the East Side’s answer to the Hotel Bel Air, with a more traditional feel to its design. The Cottages at the Langham have patios that open onto the grounds, where the flowering plants attract hummingbirds and other pollinators just outside your door. If you choose instead to stay on the seventh floor of the main building, you’ll be treated to an eye level view of woodpeckers as they flit and peck about the treetops. Strolling the grounds in the early morning or dusk, expect to see (and hear!) geese flying in formation overhead.

If you’re looking to venture beyond the hotel grounds, the Huntington Library and Gardens and Descanso Gardens are both close by and offer more opportunities for safe and distanced outdoor exploring and are each home to more than one hundred species of birds. Both gardens currently require advance ticket reservations to maintain a reduced capacity for safe distancing.

A Breath of Fresh Air on the Beach

Lovers of sea and shorebirds will find their birding utopia at the modern and beachy Fairmont Miramar Hotel & Bungalows in Santa Monica. The ocean-view rooms claim breathtaking Pacific Ocean vistas from their balconies where you can watch gulls soar through the air, sandpipers scamper across the beach, and pelicans make spectacular dives for fish.

If you keep your eyes on the waves, you may be treated with a view of a pod of dolphins or migrating humpback whales (look for the spouts!). Although the ocean is the main attraction at the Miramar, you can also roam to the readily accessible hiking trails in the nearby Santa Monica Mountains, where red-tailed hawks make their home.

In Los Angeles, we’re lucky to have the biodiversity of the natural world so deeply integrated into the city itself, where it’s easy to enjoy the wellness benefits and calming presence of nature alongside the comfort of a polished urban environment. For bird loving Angelenos, adding new species to your life list while recharging in a serene environment is just a reservation away.

Sarah Barnard is a WELL and LEED accredited designer and creator of environments that support mental, physical and emotional wellbeing. She creates highly personalized, restorative spaces that are deeply connected to art and the preservation of the environment. An advocate for consciousness, inclusivity, and compassion in the creative process, Sarah’s work has been recognized by Architectural Digest, Elle Décor, Real Simple, HGTV and many other publications. In 2017 Sarah was recognized as a “Ones to Watch” Scholar by the American Society of Interior Designers (ASID).   

Cosmopolitcal Design: A New Modality Harnesses the Connection between Home and Nature

With global society and climate in flux, mapping out new ways to live and create in the world has become an essential project. Amid the competing approaches to this transformation, the philosophical school of cosmopolitics, as its name suggests, addresses this challenge in a uniquely holistic way and presents an entirely new perspective on the human relationship with the world.

Albena Yaneva, in her introduction to What is Cosmopolitical Design?: Design, Nature, and the Built Environment, explains that “Cosmopolitical thinkers...see nature as no longer being unified enough to provide a stabilizing pattern for the experience of humans; it is not ‘out there,’ a simple backdrop for human activities.” Cosmopolitics distinguishes itself from cosmopolitanism by positing a relationship with nature and its non-human denizens defined by cohabitation rather than dominance. As Yaneva writes, “These thinkers abandon the modernist idea of nature as being external to the human experience—a nature that can be mastered by engineers and scientists from outside.” 

How does this cosmopolitical perspective manifest in the world of home design? To Yaneva, “It challenges design...to encourage the enactment of new relationships both within and potentially outside the designed space.” Cosmopolitical home design is deeply tied to its locality and integrated with its environment. Yaneva describes cosmopolitical design as “required more than ever to address the primordial question of what it means to live together. That is, the co-existence of humans and non-humans, of how they share space and find ways to live together in peace.”

Because the cosmopolitical way of thinking is so all-encompassing, the approaches to incorporating cosmopolitics into home design are fittingly varied and can be scaled to projects as vast as urban planning or as circumscribed as landscaping a backyard. Manifestations of cosmopolitical home design can range from home renovation with the local climate in mind (for example, placing windows for optimal warmth or cooling of interior spaces) to pollinator-friendly gardens teeming with plants indigenous to their region.

To interior designer Sarah Barnard, WELL AP + LEED AP, bringing cosmopolitics into her home design practice means cultivating spaces that are specific both to her clients and as well as to the local environment and that encourage an accord with the natural world. Sarah says, “Finding ways to harmonize the design of a space to a specific environment instead of working against it is both challenging and rewarding. When a designed space and its greater environment are fully integrated, the effect is almost easier to feel than observe.”

Sarah explains, “I always look for opportunities to create inviting connections between the indoors and the outdoors. This continuity with the natural world is beneficial for emotional and mental health—it’s not just a source of beauty but nourishment.” For an artist’s bungalow, Sarah created a visual continuity between lush indoor plant life and the garden outside, and then took it a step further. Sarah designed the outdoor garden to support pollinators, birds, and other wildlife. The garden is a Certified Monarch Waystation, providing resources to support migrating Monarch butterflies by providing food, water, cover. Sarah said, “Designing homes for wellbeing doesn’t have to stop at the comfort of the client. Incorporating elements of design that nurture the local ecology deepen our relationship with nature and result in spaces that are unified with their surroundings.”

This particular expression of cosmopolitical home design can be achieved even with limited outdoor space. For an oceanview penthouse, Sarah transformed a balcony into an inviting habitat for local and migrating wildlife by adding potted olive trees and an herb garden. “Considering plants not just for their decorative beauty but also what they can offer to the local environment is a concept that works on virtually any scale,” Sarah says. To decorate the interiors, Sarah selected natural and eco-friendly furnishings and textiles, adding that “Organic materials have a gentler environmental impact, and from a wellness perspective, are kinder to the people who live with them.”

When selecting materials and furnishings for home decorating, Sarah often looks to her clients’ priorities to guide her approach to creating spaces that embody a cosmopolitical perspective. For one high-rise suite, the owner’s love of animals was demonstrated not only through the choice of art and decorative objects, but also wanted this care toward animals extended outside home design and beyond aesthetics. Sarah addressed this by using exclusively vegan materials and furnishings for this project. Sarah explains, “No space exists in a vacuum—every object and material we use has a footprint that goes well beyond the front door, so considering the story of the materials we use and the impact that they have on the world is a way to invite cosmopolitical ideas into home design.”

Sustainable materials can also have unexpected origins. For the kitchen of a historic craftsman bungalow, Sarah installed a countertop made of recycled beer bottles, a non-extractive alternative to a more traditional quarried stone countertop. “Not only is the material beautiful and environmentally conscious, but there’s also a little whimsy in how it reinvents something ordinary and adds character to the space,” Sarah says. The implications behind cosmopolitical home design may be weighty, but there is always room for playfulness.

“When I look at my work from a cosmopolitical perspective,” says Sarah, “I see tremendous opportunity for creativity. We are seeing our way of life change in real-time, and as a home designer, I’m lucky to be able to be a part of facilitating that transformation for my clients.”

Sarah Barnard is a WELL and LEED accredited designer and creator of environments that support mental, physical and emotional wellbeing. She creates highly personalized, restorative spaces that are deeply connected to art and the preservation of the environment. An advocate for consciousness, inclusivity, and compassion in the creative process, Sarah’s work has been recognized by Architectural Digest, Elle Décor, Real Simple, HGTV and many other publications. In 2017 Sarah was recognized as a “Ones to Watch” Scholar by the American Society of Interior Designers (ASID).