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

Image courtesy of Pexels, Photo by thirdman, CREATIVE COMMONS ZERO (CC0)

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.

Image courtesy of Pexels, Photo by Karolina Grabowska, CREATIVE COMMONS ZERO (CC0)

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.

Image courtesy of Pexels, Photo by mododeolhar CREATIVE COMMONS ZERO (CC0)

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)

Image courtesy of Pexels, Photo by Nathan Cowley CREATIVE COMMONS ZERO (CC0)

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.

Image courtesy of Pexels, Photo by Cherylanne Hsieh, CREATIVE COMMONS ZERO (CC0)

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.

Image courtesy of Pexels, Photo by Karolina Grabowska, CREATIVE COMMONS ZERO (CC0)

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). 

Inclusive Design Language : Building a Foundation for Wellbeing

The first step in any home design process is learning who you are designing for and their design needs. Particularly when designing for something as intimate as a residential space, effective home design requires a great deal of honesty, vulnerability, and open communication with all parties. When clients are open with us, we can design genuinely supportive spaces. If clients feel embarrassed or guarded, they may not feel comfortable being honest about their lifestyle, limiting the ability of the designed space to serve them.

For example, someone who fears judgment may not want to admit to the amount of time they spend curled up watching movies in the evenings, despite being a common way to escape the day and recover. They may perhaps instead overemphasize time spent devoted to their yoga practice. A home designer may then place ample attention on building a dream yoga studio instead of investing in a beautiful, ergonomic, and supportive movie viewing space that would contribute more to daily life. While this is a lighthearted example, there are many instances where this may play out in a more harmful or isolating way. Creating an open dialogue is crucial in preventing any missteps when designing a home.

One piece of creating open and safe relationships with clients is by using inclusive design language. Inclusive language is defined by the Linguistic Society of America as language that "acknowledges diversity, conveys respect to all people, is sensitive to differences, and promotes equal opportunities." Considering language choice does not only help create a more understanding environment between designer and client, but the entire studio team, vendors, and tradespeople. Using inclusive home design language is a small but crucial step in creating open communication and trust between everyone involved in a project.

There is a long history of home design, grounded in tradition. Learning the historical context of the language used both within design and frequently in any workplace helps us understand if the language is supportive or can cause hurt or harm. Our design studio encourages continued education and learning for our whole team. At our weekly meetings, we share information we've learned in classes we've taken, articles or books we've read, or even conversations that may have opened our thinking. Recently, we have put effort into considering the language surrounding home design.

Recently there was a push in the real estate and home design community to eliminate the term "master bedroom" due to its loaded history, replacing it with "primary bedroom." This step towards considering the legacy of language so frequently overlooked had us wondering, where does other common design language originate? How can we improve our communication to match our intentions as home designers and create welcoming, inclusive, and adaptive spaces?

Through conversations and research, here are a few of the terms we have opted to replace as a studio and the alternatives we have adapted:

Powder room: While the term originated to reference a room where one powdered their wig, the phrase later took on gendered connotations around "powdering one's nose." The language has been replaced with "half-bath" for a more approachable and less gendered option. 

Ladies and gentlemen or guys/gals: We have opted for folks, team, or friends for an option that does not assume or exclude gender identities. 

"Man" as in, man the front desk, manmade, manpower:  Our studio is replacing these with human-made, human power, staff the front desk for options that do not assert gender dominance or preference. 

Grandfather: This phrase, commonly used in home design practices to indicate a non-conforming, pre-existing condition that may remain in violation of the building code, originated in the American South in the 1890s to defy the 15th Amendment and prevent Black Americans from voting. We've opted to use legacy or exempted.

Tipping Point: The phrase was first popularized when referencing white families leaving a neighborhood when a certain number of Black people moved in. We have opted for climax, peak, or crossroads.

His and hers closets or bathrooms: While commonly used in housing and real estate, the wording is gendered and assumes a hetero-normative lifestyle. We have switched to dual closets or dual bathrooms to describe the spaces without attaching any presumptions to their use. 

Walk-up building: We are opting for non-elevator building to avoid language associated with ability. 

Allowed: Frequently used conversationally, allowed implies power over another person to grant permission, and is being replaced with invited. 

Discovered:  In the context of "we discovered this artist's work," the word reinforces colonialist language and systems. We are opting for "we have learned of". 

Blind approval: We are instead using unquestioned approval, automatic approval. 

Idioms: Our studio is making an effort to avoid any idioms and instead speak literally. Many of these phrases have loaded historical origins, and because they are often regional, they may also be confusing or unclear, muddling communication.

If you are interested in learning more about inclusive language, here are a few of many available resources: 

A Progressive's Style Guide 

Conscious Style Guide 

Diversity Style Guide 

While language is only a piece of creating a safe and welcoming space, it is an important one to set the stage for accessibility and break a language pattern that carries an outdated and harmful legacy. This process is an ongoing one, and we are continuing to learn and adapt, both in our language use and in our design practice. We encourage you to join us in a collaborative effort to adapt, update, and improve our communication and continue in the ongoing conversation surrounding compassionate home design.

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 been quoted by Architectural Digest, Elle Décor, Vouge, 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).

Three trailblazing queer women who shaped design history

At the Moulin-Rouges, Two Women Waltzing By Henri de Toulouse-Lautrec. Works from the National Gallery in Prague. Photo by: Jan Sedlák, Henri de Toulouse-Lautrec, Odeon, Praha 1985. Public Domain.

Today and every day, we celebrate the pioneering queer women who helped to shape the interior design industry. The erasure of women — particularly queer women — from history is a troubling phenomenon and underscores the importance of sharing the stories of these lesbian and bisexual women who left their mark on design.

Interior of Elsie De Wolfe' music pavilion looking out on to the pool, The Villa Trianon , rendered by William Bruce Ellis Ranken (1881-1941). Public Domain.

Elsie de Wolfe, c. 1880.

By Unknown. Public Domain.

1. Elsie de Wolfe

Elsie de Wolfe is the OG of interior decorating. Born in 1859, she began her career as an actress, which earned her fame and influence among the high society crowd. Realizing she had more of a knack for set design than acting, de Wolfe transitioned into interior decorating — a profession that didn't even exist at the time. Her well-heeled clientèle included Henry Clay Frick, Amy Vanderbilt, Cole Porter, Wallis Simpson, and George Bernard Shaw.

She disapproved of over-designed Victorian interiors, preferring instead to remove clutter and simplify spaces to make entertaining easier. De Wolfe's aesthetic could be described as colorful, airy, and opulent. "I opened the doors and windows of America, and let the air and sunshine in," she once said of her legacy.

She drew much of her inspiration from 18th-century French design, introducing pale paint colors, exotic animal prints, wicker furniture, nature motifs, and strategically placed mirrors into her projects.

De Wolfe's personal life was equally as colorful: she enjoyed a so-called "Boston marriage," living openly and happily with her lover, Elisabeth "Bessie" Marbury, a successful theatrical and literary agent. Their relationship spanned 40 years, and together, the couple renovated several homes in Manhattan and the 'Villa Trianon,' a French estate outside of Versailles. De Wolfe and Marbury continued their relationship until Marbury passed away in 1933, naming de Wolfe as her sole heir.

Portrait of Miss May Morris, Portraits of many persons of note photographed by Frederick Hollyer, Vol. 3, platinum print, late 19th century. Victoria and Albert Museum, London, museum no. 7821-1938. Public Domain.

2. Mary 'May' Morris

Living in the shadow of her famous father, William Morris, Mary 'May' Morris never got the recognition she deserved as a textile designer. The family business, Morris & Co., created printed fabrics and wallpaper, stained glass and artful embroidery — many of their iconic designs are still treasured today, and distributed by the Sanderson brand.

May was a true talent — designing wallpaper, editing her father's poems, and heading up the embroidery department of Morris & Co. at the ripe old age of 23. She was a staunch feminist and socialist, and co-founded the Women's Guild of Arts in 1907, dismayed by the fact that the Art Workers Guild prohibited women from joining their ranks.

She was also a lesbian and lived with her partner, Mary Lobb, in a historic manor house in West Oxfordshire, England for more than twenty years. Lobb was initially brought on by May to work as the 'female gardener' at Kelmscott Manor, but the two struck up a close relationship, and Lobb was invited to move in. The couple was fond of camping in the countryside and visited Iceland together several times. May Morris died in October 1938, and Mary Lobb passed away just five months later in March 1938.

Wallpaper Design. Attributed to William Morris. c. 1881. Photo by Unknown. Public Domain.

Portrait of Eileen Gray. c. 1910. By Unknown. Public Domain.

Table E.1027, Design by Eileen Gray (1878-1976). Public Domain.

3. Eileen Gray

The creations of modernist hero Eileen Gray look just as in vogue today as they did in the 1920s and 30s when she designed them. The Irish-born architect and furniture designer opened up a gallery in 1922 along Rue du Faubourg Saint-Honoré in Paris where she sold her pieces.

Her skills were numerous and her style was ever-evolving. Gray was a sought-after interior designer and self-taught architect. Some of her famous works include the often imitated adjustable table E 1027, the tubular Bibendum chair, and E-1027, a modernist-masterpiece-slash-vacation-home on the Côte d'Azur in the South of France.

Gray had many relationships with both men and women. In Paris during the 1920s, she ran with a crowd of celesbian artists and became the lover of the French singer, Damia. Allegedly, the two were fond of driving around the city in a Chenard-Walcker with Damia's pet panther sitting in the back seat — how casual!

Gray's legacy was nearly erased from the history books but has since been revived with the release of two films about her remarkable life. Her ex-boyfriend and fellow architect, Jean Badovici, was often falsely credited for the design of E.1027, although she had designed it for him as a sort of modernist love shack. Thankfully, her work has not been forgotten, and the formerly derelict E.1027 is now a museum that's open to visitors.

The legacies of these three queer women live on through their work. So the next time you spot an adjustable table E.1027 replica, transform a dark, dreary room with a gallon of white paint, or wallpaper your powder room in a Morris print, think of these fearless creatives who helped shape the interior design industry into what it is today.

Sarah Barnard designs healthy, happy, and personalized spaces that are deeply connected to nature and art. To learn more about Sarah Barnard Design, please visit www.SarahBarnard.com.

Russian writer Zinaida Gippius (Зинаида Николаевна Гиппиус, 1869-1945), by Léon Bakst (1906). Public Domain.