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Ubiquitous in ancient Greek culture, the ethical principle of xenía may broadly translate as hospitality to strangers, doing so through taking interpersonal, political, and architectural form. Since xenía includes the accommodation of foreign guests, some evidence of xenía in architecture is logically found in houses and hostels, but surprisingly more evidence surrounds Athens' Theatre of Dionysus, on stage in Aristophanes' Peace and Euripides' Cyclops, and off stage through the architects elected to look after the sanctuary of the theatre. This paper reveals the principle of xenía permeating the professional work of the architect to such a degree that Vitruvius and Demosthenes would reproach even slight digressions from the principle, and Vitruvius would call the education of xenía the most valuable thing to outlast a shipwreck.

Ubiquitous in ancient Greek culture, the ethical principle of xenía may broadly translate as hospitality to strangers, doing so through taking interpersonal, political, and architectural form. Since xenía includes the accommodation of foreign guests, some evidence of xenía in architecture is logically found in houses and hostels, but surprisingly more evidence surrounds Athens' Theatre of Dionysus, on stage in Aristophanes' Peace and Euripides' Cyclops, and off stage through the architects elected to look after the sanctuary of the theatre. This paper reveals the principle of xenía permeating the professional work of the architect to such a degree that Vitruvius and Demosthenes would reproach even slight digressions from the principle, and Vitruvius would call the education of xenía the most valuable thing to outlast a shipwreck.

Mahoney attempts to provide architect Andrea Vassallo the recognition that he deserved due to the obscure nature that he was succumbed to. His governmental employment restrained his attempts at fulfilling his architectural dreams although he ultimately, if late in his life, managed to succeed. Whilst working for the government, he was forbidden from pursuing personal works yet he sidestepped this rule with the help of his son, Edwin, who promoted them for him. At the end of the document are attached various pictures of Vassallo's work. ; N/A

Margaret Staal-Kropholler (1891-1966) staat bekend als de eerste vrouwelijke architect van Nederland. Zij realiseerde als ongediplomeerd architect haar eerste werk in 1917. Minder bekend is dat in datzelfde jaar Grada Wolffensperger (1887-1965) als eerste vrouw haar universitaire studie bouwkunde voltooide aan de Technische Hogeschool in Delft. Tot 1945 voltooiden nog eens twintig vrouwen hun architectenopleiding. Waarom en hoe werden deze vrouwen architect, in een tijd waarin de vrouw geacht werd voor gezin en huishouden te zorgen? Hoe zag hun opleiding eruit en was het wel mogelijk om dit door mannen gedomineerde beroep uit te oefenen? 'Hulde aan onze kranige architecte!' beschrijft de opkomst van de vrouwelijke architecten. Het boek vormt met 21 biografieën een onmisbaar naslagwerk in een onderbelicht deel van de Nederlandse architectuurgeschiedenis

"This book portrays the lives and work of 10 architects who comprise the Millar Howard Workshop architectural firm based in the Cotswolds in the United Kingdom. Focusing on their activities and their work environment, Yarrow's book is narrative driven, full of stories of anxiety, exhilaration, hope, idealism, friendship, conflict and its resolution, and the many personal commitments that propel the acts of creativity essential to good architecture and design. Taking up recent calls to "personalise the expert," the book contains insights into architectural and design practice, situating these in relation to broader themes including creativity, ethical self-formation and organisational practice. Through ethnographic descriptions of everyday working life, the book reveals the complex and contradictory imperatives that shape architectural design, and highlights the negotiations involved in efforts to resolve these. These accounts demonstrate how ideas are imaginatively produced through shifting configurations of people, materials, tools and places. Rather than deconstructing understandings of creative individuality, the account traces how this is understood and enacted through practices that are shaped by, even as they question the ideal"--

This book provides a thorough description of just how varied and complex, how stressful and yet inspiring the cooperation between architect and engineer can be. It offers an insight into the complex relationship between the two professions: from the historical analysis and theoretical examination via an exploration of partial aspects such as the relationship between support structure and space or the graphic reflections by individual actors on the process of designing and building. As such, it provides architects and students with the tools for future cooperation.

The article critically investigates recent assumptions that professional women are en route to equality with professional men by assessing the field of architecture as a case study. It addresses the poorer completion rates for women architectural students, together with the lower proportions of professionally registered and promoted women architects.The article explores, in particular, Bourdieu's theories of gender divisions and higher professions as an explanatory grid for understanding these phenomena, deploying especially two late works, Masculine Domination (2001) and The State Nobility (1996). It is argued that the extended Bourdieusian theory of practice illuminates the interview data gathered from women architects, especially through its emphasis on a disposition to naturalize domination. While Bourdieu's position is not without weaknesses, this theory sheds light on the difficulties women practitioners are found to face empirically, especially in combining architecture and parenting.