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For women architects, the confluence of gender and professional identity has remained unresolved since their admittance to the profession of architecture. The past decade has seen a resurgence in the use of the term 'women in architecture' coupled with renewed debate around its use as well as challenges from feminist historians and theorists to recognise other forms of architectural practices and identities. The research presented here examines the interplay between gender and the professional identity of those working within, and outside of, architectural professional practice in Ireland by combining questions on gender and professional identity from a large survey (n = 684) and 23 semistructured interviews. Launched in March 2023, the Irish Architecture Career Tracker Survey received over 680 completed online questionnaires. The respondents, ranging in age from 20 to 72, were asked, 'How important is being a woman/man to the way you think about your career?' Perhaps unsurprisingly, the results for men and women are almost the inverse of one another. Male respondents tended towards 'being a man is not at all important to the way I think about my career,' at 45%, whilst female respondents tended towards the opposite, 'being a woman is extremely important to the way I think about my career,' at 41%. Another key question asked was whether or not 'The term 'woman in architecture' is an important reflection of who I am professionally?' Just 40% of female participants agreed with this statement. In the 23 semi-structured interviews which followed the survey, these two topics were explored, providing rich qualitative. Interviewees were both male and female and ranged in age from 32 to 62. When analysed using a reflexive thematic approach, we identified six themes which, when taken together, show a difficult and at times contradictory and paradoxical confluence of gender and professional identity, especially, but not only, for female architects. We suggest that these apparent contradictions and paradoxes are a way to cope with the quintessential sexist dilemma that identifying as a 'woman in architecture' continues to present. [ABSTRACT FROM AUTHOR]

Copyright of Dearq is the property of Universidad de los Andes and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Dearq is the property of Universidad de los Andes and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Based on the ideas of art historian Griselda Pollock regarding the definition and critique of hegemonic cultural discourses, this article explores the possibilities for revising the history of architecture in Chile between 1920 and 1980 from a gender perspective. By employing Pollock's framework for understanding selective historiographical traditions, the article constructs a broad and heterogeneous panorama of significant figures at a local scale. The discussion concludes with reflections concerning the theoretical challenges involved in constructing a history of women in architecture.

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of VAD: Veredes, Arquitectura y Divulgación is the property of Alberto Alonso Oro and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of VAD: Veredes, Arquitectura y Divulgación is the property of Alberto Alonso Oro and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Recently, scholars have highlighted the contributions of female designers to the careers of their better-known male counterparts. The role of women in architecture in the early 20th century is largely relegated to the residential sector for which they were believed to be "naturally suited." Despite this, when working alongside male architects in the residential arena, their contributions were often overlooked. The goal of this research was to identify and highlight the women behind the Architects' Small House Service Bureau (ASHSB) and their contributions to the enterprise. The methods used for this work included a systematic literature review of the published resources of the ASHSB, which comprised seven years of The Small Home monthly publication, five plan books published by the ASHSB with regional and reprinted variations, and an analysis of 53 banker boxes of ASHSB headquarter original documents (correspondence, membership lists, policies, and marketing materials). The outcomes of the research confirm that women were involved in all aspects of the residential designs marketed and sold by the ASHSB to consumers. Women contributors were featured with innovative designs for the interiors of the houses including kitchen designs with substantial interior detailing and built-ins, materials and furnishing selections, and advice to homeowners. Articles written by men were frequently credited while significantly fewer women received attributions, leaving the majority of articles and house design descriptions unattributed and anonymous. These women are an important part of the history of interior design in North America. [ABSTRACT FROM AUTHOR]

This research focused on Kirazlıyayla (Uludağ) Sanatorium located in the Uludağ region of Bursa, a significant architectural achievement in the careers of architects Leman Tomsu and Emin Onat. The article explored the medical and social aspects of the sanatorium in mid-20th century Turkey under four main layers. These layers encompassed the role of tuberculosis as a political discourse and republican health propaganda; the perspectives of the Bursa Tuberculosis Association as social reflections, and "privileged patient room" as institutional reflections of privileged healthcare service; the significance given to women architects in mid-20th century Turkey; and lastly the impact of the current adaptive reuse of the complex upon its identity as a cultural heritage. The findings demonstrated that despite its significant role in promoting public health during the republican era, did not effectively contribute to Bursa's efforts to combat tuberculosis. The provision of "paid" healthcare services, although reduced to the "rooms' decoration," revealed the presence of a privileged healthcare system. Furthermore, the contributions of the women architect, Leman Tomsu, were not adequately recognized in comparison to her partner. Moreover, considering conservation with historical and medico-social context, the current use of the building has demonstrated that this example is another heritage at risk. [ABSTRACT FROM AUTHOR]

Women the silent architects of society, weave the fabric of families and communities. Their influence extends far beyond the confines of their homes, shaping the very essence of progress. In the intricate dance of life; women's decisions resonate powerfully in the realm of financial activities. By empowering women to actively participate in economic matters, we bridge long standing gaps and pave the way for collective growth. India, a tapestry of diversity, thrives when its women thrive. Their financial literacy becomes the compass guiding us toward prosperity and the investment not only in their well-being but also in their knowledge, is required. Keeping this in view, the study was carried out on a sample size of 256 respondents in the districts of Hisar and Kaithal during 2023. The study was on the working and non-working women of Haryana. The results showed that working and non-working women of rural area had less involvement in financial matters as compared to urban women. Among the non-working women, more than onethird of the respondents took decisions independently related to purchase of clothes, purchase of daily food articles and purchase of utensils. [ABSTRACT FROM AUTHOR]

The vast and plural production of the woman architect, musician, activist, occasional educator and tireless researcher Anna Bofill Levi (Barcelona, 1944) is characterized by certain features that make its author a unique personality, although one hardly known and recognized in the Spanish and international circles that are the custodians of prestige in architecture. She has achieved most public recognition as a composer, the field in which she has been most productive over time and developed the furthest. Her music is characterized by the number of references, especially contemporary, she includes, the wide diversity of countries where it has been performed, and the range of people to whom she has dedicated her works, all these aspects testifying to her cosmopolitan and libertarian spirit and her commitment to equality. Her incessant writing, with all the reading it entails, has also left us with a large body of written work, extending over a number of fields, including most notably her reflections on the influence of the gender-based perspective on urban planning. A factor also reflected in her architecture, for example, in the implementation of participatory processes in her project designs. She joined the Taller de Arquitectura from the time she began her studies at the School of Architecture in Barcelona in 1964--she graduated in 1972--, and then commenced her independent career in 1981, although her first solo works date from 1977. Her work at the head of her office for almost 20 years is evidence of a tireless capacity for work and an unwavering commitment to people's welfare. This paper analyses Anna Bofill's contributions to feminist thinking through her work as an architect. Also, it addresses the study of a cultured person, a woman with great sensitivity and a strong political and personal commitment who has suffered discrimination and who hasmade rigor and determination themeans to achieve her non-negotiable freedom. [ABSTRACT FROM AUTHOR]

The article describes the gay neighborhood exemplified by Beacon Hill in Boston, Massachusetts between the two world wars. It looks back at the cycle of gentrification at Beacon Hill and considers the role of same-sex couple architect Eleanor Raymond and Ethel B. Power in drawing other queer people to their neighborhood. Focus is given on the life of painter Russell Cheney and his partner Francis Otto Matthiessen, and artist and museum professional Charles E. Buckley in Beacon Hill.

As the International Archive of Women in Architecture (IAWA) completes its fourth decade in operation it pauses to reflect on its original goals within the context from which it emerged, as one initiative amongst many, in the quest to preserve the legacy of women in architecture. The IAWA seeks not only to better understand its role in the present context but also to reimagine its contribution to an equitable future, presenting here a proposition.

This article researched design practice and construction activity of the project studio "Invest-projekt" from Belgrade. In the ten-year activity period (1952-1963), this small project studio, with a small number of young, enthusiastic and talented architects, gave birth to high-quality, recognizable and author's architecture, and finally a well-designed and built space during the 1950s. On the basis of available knowledge, drawn from direct testimony, available sources from professional periodicals and partially preserved project documentation, the first step was taken towards evaluating his contribution to the development of Belgrade and Serbian architecture in the second half of the 20th century, and determining the exact number of designed and constructed buildings in the area of the city of Belgrade. Special attention was paid to elucidating the working methods of this studio, especially regarding to received typologically diverse investments, then logistical support to other architects, such as Branko Pešić and Miroslav Mirko Jovanović, and finally participation in architectural competitions. The built building fund, consisting of school, residential and administrative buildings, represents a valuable and precious material legacy of this studio, which was worked on by at most two women architects - Danica Dana Milosavljević and Zagorka Lula Mešulam.

The article "From the Ground Up: Black Architects and Designers" discusses an exhibition at the Museum of History and Industry in Seattle that highlights the achievements and struggles of Black architects and designers in the US. The exhibition features biographies of well-known and lesser-known figures in the architecture world, showcasing their contributions to the field. While the exhibition provides a comprehensive look at Black architects in the US, it lacks a deeper analysis of the institutional barriers that continue to impede access to the profession. [Extracted from the article]

Copyright of VAD: Veredes, Arquitectura y Divulgación is the property of Alberto Alonso Oro and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article discusses an exhibition titled "Good News: Women in Architecture" that took place at the MAXXI museum in Rome from December 2021 to October 2022. The exhibition aimed to highlight the presence and contributions of women in the field of architecture. It featured a diverse range of materials, including drawings, photographs, models, and films, showcasing the work of women architects from the late 19th century to the present day. The exhibition was organized thematically rather than chronologically and included sections on "Stories," "Practices," "Narrations," and "Visions." While the exhibition was seen as a positive step in recognizing women in architecture, some critics felt that it focused more on architectural products rather than the underlying ideological and political circumstances. The exhibition ran for an extended period and was accompanied by a limited number of lectures and events. The exhibition catalog was published after the exhibition closed and provided a record of the exhibition but lacked critical analysis. Overall, the exhibition aimed to showcase the breadth and diversity of women's contributions to architecture and highlight the need for a more inclusive and equal profession. [Extracted from the article]

The article focuses on gender-specific experiences of Estonian women architects in the late Soviet and post-Soviet Estonia. Architecture has been, and to a great extent still remains, a rather masculinist field, adhering to an image of heroic individualist creative genius and supporting a very demanding and uncompromising work culture. These preconceptions often make it complicated to forge different career paths or to appreciate alternative or more cooperational modes of practice. The article asks if and to what extent the unwritten rules and prejudices have affected Estonian women architects' experiences in studying architecture, establishing their careers, combining the responsibilities of professional and private lives, and building up their image as (women) designers in a general sense. Based on in-depth interviews with 16 professional architects aged 33-92, the article also highlights the differences and similarities of practising architecture as a woman in the Soviet and post-Soviet social and economic contexts, mapping them onto findings of international feminist research in the context of both Western Europe and the former Eastern Bloc. Additionally, the article refers to the productive possibilities of oral history as a method to complement and challenge the conventional architecture historical writing as well as the intersubjective character of the narratives thus constructed. [ABSTRACT FROM AUTHOR]

Copyright of Space & Form / Przestrzeń i FORMA is the property of West Pomeranian University of Technology, Department of Architecture & Urban Planning and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This essay utilises the National Life Story Collection Architects' Lives and Matrix Feminist Architecture Archive to reflect on the experiences of women architects in the twentieth century. In so doing, it highlights the gender disparities affecting women in architecture and the problems posed by Authorised Archival Discourse in excluding women's voices from the archival record. It argues that a feminist praxis focused on positionality, intersectionality, and intermediation with end-users emerges from the experiences of women architects of the past and suggests that this might inform current architectural pedagogy and practice in the future. [ABSTRACT FROM AUTHOR]

Copyright of Arenal.Revista de Historia de las Mujeres is the property of Arenal. Revista de Historia de las Mujeres and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Arenal.Revista de Historia de las Mujeres is the property of Arenal. Revista de Historia de las Mujeres and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Arenal.Revista de Historia de las Mujeres is the property of Arenal. Revista de Historia de las Mujeres and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of ZARCH: Journal of Interdisciplinary Studies in Architecture & Urbanism is the property of Universidad de Zaragoza and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this article, we take inspiration from the evolution of the material use of glass to explore how the metaphorical use of glass could be developed to understand the emerging struggles of women in architecture. Drawing on semi‐structured interviews of architects employed in professional service firms, we suggest that the multi‐faceted nature of glass helped us to identify and understand the complex experiences of inequality for women in architecture. In so doing, we make three contributions to scholarship on gender, work, and organizations. First, we demonstrate how glass barriers were truly material in their consequences for senior women, as they prevented their rise or initiated their decline. A focus on glass barriers, however, did not fully account for the experiences of younger women in these firms. Surprisingly, and in stark contrast to the "boys club world" that left many senior women in architecture with a fractured sense of self as they struggled to construct self‐affirming identities as both women and architects, we found that the exclusive use of new technologies enabled younger women architects to melt some aspects of the traditional identity and turn them into new forms. Our conceptualization of "technologies of glass" draws attention to the social, cultural, and technological resources that younger women deploy to construct a strong professional identity in the changing world of architecture. We argue that glass can be understood not just as a constraint but as a multifaceted material with limitless possibilities for design. Thus, by highlighting the material‐symbolic entanglements of the use of glass, we strengthen and refresh the metaphor of glass, to better understand the fluidity of contemporary challenges facing professional women at work. [ABSTRACT FROM AUTHOR]

Copyright of Sociedad y Economia is the property of Universidad del Valle and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Women have been active as architects in Israel since 1921, designing projects of varied types and scales, including synagogues. The first woman to design a modern synagogue in the country was Judith Segall Stolzer, who in 1935, won a prestigious competition for Hadera's central synagogue. A few decades later Genia Averbuch designed three synagogues in a remarkably innovative modern style. These female architects were noteworthy partners in the endeavor to develop a local style in the design of synagogues. This article engages with four synagogues designed by two of the country's first female architects and explores their symbolic style against the built environment of the day. It examines the architectural planning process—references, concepts, and ideas—as well as the unusual commissioning of women as architects for these projects, with an emphasis on their contribution to Israeli culture, the development of a local style in modern architecture, and synagogue design. [ABSTRACT FROM AUTHOR]

The legacy of Jane Drew and Minnette De Silva encompassed both rupture and tradition. As modernist architects working largely in tropical contexts, they mastered innovative technical repertoires. Yet they also counter-proposed a socially sensible approach to design through groundbreaking participatory methodologies that extended well beyond the climatic emphasis prevailing within the Tropical Architecture movement of the 1950s. Disconnected from the global, ahistorical, unornamental and achromatic principles suggested by the larger Modern Movement, their work also explored and promoted vernacular regionalisms. While Drew endowed modernism with a regional shell, De Silva excelled by critically disrupting its deep core. Furthermore, as women architects, they challenged restricted patriarchal fields. Through an exploration of their exemplary work in Chandigarh and Watapuluwa, this article discusses how the approaches of Drew and De Silva allowed mid-twentieth-century architecture to reinvent itself, embracing exciting beginnings while assimilating disruption. [ABSTRACT FROM AUTHOR]

A review of: Pioneras de la Arquitectura Ecuatoriana, virtual exhibition at https://www. pionerasarquitecturaec.com/exposición-virtual, launched 20 November, 2020, curated by María José Freire and Verónica Rosero. The review examines the Ecuadorian exhibition, which recovers memories that have long remained in the personal and intimate sphere and exposes them to the social sphere, a fundamentally political act.

A review of the exhibition Women in Architecture, held at the Danish Architecture Center, Copenhagen (13 May–23 October 2022), curated by Sara Hatla Krogsgaard. This exhibition was held in conjunction with Henriette Steiner and Svava Riesto's project, Women in Danish Architecture 1925–1975.

Contrary to what might be expected, portrayals of women architects in films can be found as far back as the early decades of the twentieth century. In this article, the authors review a few films released between 1912 and 1943 in which one of the characters is a woman architect, focusing on three of them: Dr. Monica (1934), Woman Chases Man (1937) and The Lamp Still Burns (1943). The article explores the ways in which architecture was used by screenwriters and directors as a suitable vehicle to portray the 'new woman', as well as the conflicts that arise when a woman practices a traditionally male profession. It analyses the differences and limitations of these depictions, and the stereotypes regarding femininity that permeated these works of fiction. [ABSTRACT FROM AUTHOR]

Sex peptide (SP), a seminal fluid protein of Drosophila melanogaster males, has been described as driving a virgin-to-mated switch in females, through eliciting an array of responses including increased egg laying, activity, and food intake and a decreased remating rate. While it is known that SP achieves this, at least in part, by altering neuronal signaling in females, the genetic architecture and temporal dynamics of the female’s response to SP remain elusive. We used a high-resolution time series RNA-sequencing dataset of female heads at 10 time points within the first 24 h after mating to learn about the genetic architecture, at the gene and exon levels, of the female’s response to SP. We find that SP is not essential to trigger early aspects of a virgin-to-mated transcriptional switch, which includes changes in a metabolic gene regulatory network. However, SP is needed to maintain and diversify metabolic changes and to trigger changes in a neuronal gene regulatory network. We further find that SP alters rhythmic gene expression in females and suggests that SP’s disruption of the female’s circadian rhythm might be key to its widespread effects. [ABSTRACT FROM AUTHOR]

This document provides a comprehensive list of notable architectural precedents and a bibliography related to New England architecture. It includes a wide range of buildings and structures from the 17th to the 20th century, such as libraries, churches, universities, and state houses, located in various states including Massachusetts, Rhode Island, Vermont, Connecticut, and Maine. The bibliography offers resources on diverse topics, including women architects, specific architects and their works, colonial architecture, and the architectural history of specific cities and states. [Extracted from the article]

This article explores the contributions of women architects in New England between 1890 and 1935. It acknowledges the challenges faced by women in the field and the unique opportunities available to them in Boston. The training received by women architects followed a classical approach, but they often had a more progressive outlook compared to their male counterparts. The careers of Sophia Hayden, Lois Lilley Howe, Eleanor Manning, Josephine Wright Chapman, and Theodate Pope are highlighted, showcasing their achievements and impact on the profession. Additionally, the article mentions the work of other women architects such as Maude Darling-Parlin and Eleanor Raymond, who made significant contributions to the field and were recognized for their innovative designs. [Extracted from the article]

This article describes 'reading-with', a new collaborative reading method developed as part of the ERC-funded project WoWA (Women Writing Architecture 1700-1900). It offers architectural and other historians a starting point to produce inclusive histories based on the writings of those who so far are invisible within disciplinary canons. Arguing that historiography can be made more inclusive if the historian's approach to their sources changes, reading-with introduces a set of precise and timed reading tasks organised in layers to focus the researcher's attention on different aspects of the narration as well as their response to the text. Based on methods developed in the fields of psychology and feminist oral history, it aims to disrupt learned, canonical reading methods, paying attention to the relationship between reader, text, narrator, and context. Performed by several groups of researchers and master students in Switzerland and Chile in 2022-23, the method has been tested with texts authored by women in the 18th and 19th centuries. It foregrounds their architectural agency and influence on architectural cultures, even if their links to the professional sphere have so far been regarded as marginal. Reading-with is an invitation to read otherwise -- to centre the experiences and agency of those not yet acknowledged. [ABSTRACT FROM AUTHOR]

A review of: Pioneras de la Arquitectura Ecuatoriana, virtual exhibition at , launched 20 November, 2020, curated by María José Freire and Verónica Rosero. The review examines the Ecuadorian exhibition, which recovers memories that have long remained in the personal and intimate sphere and exposes them to the social sphere, a fundamentally political act. [ABSTRACT FROM AUTHOR]

A review of the exhibition , held at the Danish Architecture Center, Copenhagen (13 May–23 October 2022), curated by Sara Hatla Krogsgaard. This exhibition was held in conjunction with Henriette Steiner and Svava Riesto's project, Women in Danish Architecture 1925–1975. [ABSTRACT FROM AUTHOR]

Despite women gaining ground in various male-dominated professions, they remain largely underrepresented within the South African architectural profession. Of the 8,842 registered architects, only 20% are women and only 3% are women of color. The homogeneity of the profession is out of line with the country's population diversity demographics and shows the tangible racial and gender imbalance within the profession. Many believe the reasoning behind lack of female advancement is the historical gendered nature of the construction industry; however, what may be specific to the South African context is the legacy of Apartheid and the repercussions on the complex overlay of intersecting issues such as gender, race, education, and language that may reinforce the hegemonic power that is prevalent in the profession. An inductive approach with 16 semi-structured interviews was used to analyze the multiple ways race and gender interact within the social construct of the profession in order to better understand the structural and systemic issues that may enable or impede women as they seek to attain career advancement. The research findings show the multitude of challenges women face, which include professional and institutional culture sustaining the status quo, conscious and unconscious bias, gender role reinforcement and female attrition in the workplace. Open dialogue and the championing of transformation by those in authority are required, as well as mentorship, for female advancement. [ABSTRACT FROM AUTHOR]

Summer reviews 2022

Lithuania, as a part of the former Soviet Union, has a long‐standing history of perceived equality for women in the workplace. Women played an equal role in economic production as it was a constitutional expectation that all citizens had both a right and an obligation to work. Consequently, at the time of independence in 1990 the levels of participation of women in the workplace including at managerial and professional levels were much higher than other western European countries. In architecture, women achieved parity in terms of numbers, but this equality did not transfer into all aspects of economic activity. Drawing on qualitative survey and interview data from 31 Lithuanian women architects, our findings show, despite the historical emphasis on equality, the existence of a "critical mass" of women in the profession and the adoption of EU gender equality policy, the position of women remains poor with clear evidence of sex discrimination, harassment, and lack of opportunities for career advancement. [ABSTRACT FROM AUTHOR]

Copyright of Arq.urb is the property of Arq.urb and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)