However, a social narrative capable of placing forms in the urban landscape that represent the redefinition and update of constructs such as family, freedom, play, sexual equality, and democracy is stonewalled by misogyny.
For example, a search of famous modernist architects of the 1930s yields 24 men and three women, one of whom, Hadid, is too recent and shouldn’t be included. Lina Bo Bardi and Eileen Gray are of the era and yet are obscure. Both endure misogyny within the field, but Gray’s affront by Le Corbusier best encapsulates what they had to endure.
Why was she so hesitant to claim credit for her work to such an extent that it was given to Le Corbusier?
The status of women in relation to social ideals, technology, and form changed roughly 3000 years ago with the collapse of the Bronze Age. Before this event, women in areas culturally linked to Black Africa were involved in their development alongside men.
The investigation of Nabta Playa, the Calendar Circle, illustrates this point. Near this astronomical marker, which calculates the earth’s precession and establishes the date when the last one began, is found a cow cult artifact––suggesting the presence of women.
Furthermore, Guided Imagery illustrates female governance in a Pharaoh’s symbols of sovereignty. In Pharaoh’s hand is the Flail, a female cow cult symbol granting authority.
The “cosmic egg” motif of a village, the arch seen in its entirety, expresses the importance of women as the gateway to conscious life and directly repudiates misogyny in social and economic interactions.
