Feminism, gender and the other the feminist code natasha boshoff

F E M I N I S M
G E N D E R
AND THE
O T H E R

TABLE OF CONTENTS
1 PLAGIARISM DECELERATION | page 1
2 FEMINIST THEORY | page 3
- The Feminist Code by Natasha Boshoff | page 5 - 17
- Addressing Gender Based Violence by Boitumelo Maboitshego | page 19 - 33
- Women Separated by Nyatowani Tembo | page 35 - 43
3 DOMESTIC SPACE & NORMATIVE ROLES | page 45
- The “Scary Fortress” by Lwando Vokwana | page 47 - 55
- Normative Behaviours, and their Spatial Counterparts by Michael Watson | page 57 - 71
4 QUEER THOERY & GAY SPACES | page 73
- Queer Space as Temporary and Reclaimed Space by Kathryn Baart | page 75 - 83
- Melville Boundaries by Keagan Oosthuizen | page 85 - 97
- The Transformative Power of Inclusive Spaces by Liezel Reitmann | page 99 - 109
- Space is Only Temporary by Rivka Schulman | page 111 - 119

We, the students registered for the course ARPL4002 in the year 2019. We hereby
declare the following:
We are aware that plagiarism (i.e. the use of someone else’s work without
permission and/or without acknowledging the original sources) is wrong. We
confirm that the work submitted for assessment for the above course is our own
unaided work except where we have stated explicitly otherwise. We have followed
the required conventions in referencing thoughts, ideas, and visual materials
of others. We understand that the University of the Witwatersrand may take
disciplinary action against us if there is a belief that this is not our unaided work
or that we have failed to acknowledge the source of the ideas or words in our
own work.
Kathryn Baart 788497
Natasha Boshoff 1076890
Boitumelo Maboitshego 685186
Keagan Oosthuizen 817161
Liezel Reitmann 732381
Rivka Schulman 797557
Nyatowani Tembo 1131556
Lwando Vokwana 669316
Michael Watson 859443
DECLARATION
1

FEMINIST THEORY
Natasha Boshoff 1076890
Boitumelo Maboitshego 685186
Nyatowani Tembo 1131556

5
The Feminist Code A
Chapter 3 The Feminist Code
THE FEMINIST CODE
The Principles of Feminism and Space 2019
Natasha Boshoff

FEMINIST THEORY
6
THE FEMINIST CODE
ABSTRACT
Feminism in Architecture has changed over
time since the movement for equality began
within the 19th and early 20th century.
The current dynamic of feminism is in a
transition period to become not singular in
its cause but rather multifaceted in topics of
social cultural norms, religious propositions,
and doctrines of the roles of females, sexual
orientation and issues relating to the body.
In 2019, the definition of feminist has
developed various notions and types.
These categories within feminism is used
interchangeably within various discussions
relating to global social debates as well as
the practice of the Built Environment. The
practice of feminism will remain grounded
within a struggle within difference like sex,
gender, ethnic group, sexual orientation
and other social cultural and economic
dichotomies.
The new category or term known as
“Intersectional feminist” have opened a
wider narrative for various terms to be used
interchangeably which has open discussions
for even further complex narratives.
In South Africa, the translation of feminist
doctrines and struggle practices has been
astronomical. In a context with a wider
LGBT+ community as well as radicals
associated to Intersectional Feminist, the
singular notion of feminism needs new
approaches and design principles in order to
address built environment issues for a larger
intricate social dynamic.
The chapter considers the adaption of
feminism in architecture and how such
transitions have called upon for readapting
approaches for new design principles to
architecture.
This transitions will be translated into built
projects which are done by both male and
female architects that have followed “The
Feminist Code.” The principles set towards
designing the built environment within
the context of South Africa which sets the
tone for “Intersectional approaches with
design” needs to be brought into the body
of knowledge within feminism and spacial
relationships.
The aim would be to set out a guide on how
architects would design in 2019 as a newly
defined Intersectional feminist.
The Image is taken from a music video of the song “Nightmare” by Halsey, released in 2019. The music video
talks about female stuggles which still exist within a global spectrum of inequality of females. The lyrics
of the shit have been included in the image titled “I’m tired and angry but somebody should be” Tumblr
(2019). nightmare lyrics. [image] Available at: https://www.tumblr.com/search/nightmare%20lyrics [Accessed
29 Jun. 2019].
The Adaption and Principles of Feminism & Space 2019
Natasha Boshoff

7
“THINGS CHANGE BUT WE ADAPT.”
-Female success network1
The distinction of time and the matrix that
it presents in the transition of feminism
and architecture is important to grasp. The
responsibility and approach to architecture
is highly determined by current issues and
problem statements associated to contextual
views. This in itself has been embodied into
architectural practices and schools of thought
within the built environment.
As part of the discussions at the University
of Johannesburg’s “Trans-production, we
should all be feminist.”(L. Lokko, 2019)2
the
various generations of females discussed the
transition of feminism from a once singular
fight for civil rights for females towards
various categories that tie back to a singular
understanding of feminism.
The term discussed amongst the panel
that refers more to the contextual situation
of South Africa is to practice Intersectional
Feminism.3
This term is understood as
feminist who understand the overlapping
of identities that are played out into more
dichotomies which form part of barriers which
1
female success network (2019). things
change but you adapt quote for women.
[image] Available at: https://za.pinterest.com/
femalesuccessnetwork/ [Accessed 30 Sep.
2019].
2
Otten K, Tayob H, Vally S, Lokko L,
Mthembu G , Lekalakala K: “TRANS - We
should all be Feminist”- Panel Discussion
and Film Screening. Date: 13/ 08/2019
3
www.dictionary.com. (2019). Definition
of intersectional feminism | Dictionary.com.
[online] Available at: https://www.dictionary.
com/browse/intersectional-feminism
[Accessed 15 Aug. 2019].
Identities are conscripted to. These
characteristics include disabilities, race, class,
ethnic group, religion, sexual orientation and
other forms of classification.
As part of the transitions of feminism in
social sciences perhaps a re-examination
of gendered and sexuality within the
architectural body of knowledge would find
it’s spatial implications and begin with the
subjection of otherness to its users. This is
especially relevant to community and urban
spaces across South Africa.
Embedded within the term “SEX” is the
connotations of the physical and the erotic
sensuality and desire. The term also
dichotomizes male and female, brings across
human reproduction and the term has even
been further sparked with interest in complex
narratives, especially in 2019. 4
More critical approaches have become
relevant to the global community within
spacial practice and can be learned from
great architectural projects within South
Africa. This is all necessary to develop a
standpoint and code which may be referred
to within designing the built environment.
In particular, within South Africa, users and
practitioners in architecture are coming
together to discuss these transitions
and current conditions of feminism and
architecture, especially in the manner that
practice is conducted and within principles of
architectural design.
4
Agrest, D., Conway, P. and Weisman,
L. (1996). The sex of architecture. New York:
Harry N.
2019. digitaledition. (n.d.). DePaul Art Museum exhibits embody ‘intersectional’ approach to identity. [image]
Available at: http://digitaledition.chicagotribune.com/tribune/article_popover.aspx?guid=1b69a695-3a3c-
4bb0-a3f8-8309fd884ebe [Accessed 5 Sep. 2019].
The artist aimed to embody intersectional feminism as a formal view of feminism in 2019. The artwork brings
forth the overlaying of identity as pattern which form part of the complexity and multi-facet nature of a
person. These overlaying ideas and connections made are the way that feminism has transitioned in 2019.
The Feminist Code

FEMINIST THEORY
8
This consciousness and awareness within
South Africa is the result of these continuous
discussions and the consciousness applied
within the built environment.
When looking at colloquies engagements,the
term “feminism” has particular associations
and connotations of both “Angry” feminist
practices and empowerment. This old
school of thought, although may exist as
a global category within feminism and
architecture, is not embodied within the built
environment spatial practice of South Africa.
This is because the social doctrines of “The
Feminist Code” is practiced and inclusive
to both male and female bodies. The social
consciousness and Intersectionality as a
consciousness of overlapping principles
and awareness doesn’t prescribe anger but
collaborations through common outcomes.
To academics within the built environment
and Intersectional feminist practitioners,
feminism in architecture are view as, “A
man or a woman that identifies a problem
with gender as it is today but points out
that transformation of these notions are
inhabitable.” - Marina Abramovic
South Africa is however not spatially perfect
within user comfort and optimum spatial
resolutions. Within the public realm of South
Africa, females are seen in groups and not
heard. “To be girl is to obey””, to obey social
constructs, to obey and live in expectations
and to be limited. These social constructs
focus is on issues of gender, culture and
identity expressed within the students
work. (Gugulethu Mthembu, 2019).5
5
Architecture from its initial starting point has
been gendered and been privileged... “The
Psyche of Architecture” in comparison to the
“Practice of Gender and Architecture” was
viewed in contradiction or in competition
with each other. This was especial due to
problematicpracticesandcodesthatwerenot
engaging more exclusively to philosophies
associated to these doctrines of difference.6
Gender as a force of difference7
has been
the term mentioned as an occurring pattern
of conservatives today. The city creates
otherness within spatial forms and exposes
both male and females to it. The built
environment, especially the city makes a
women feel either too invisible or to outcast.8
Although this psyche of masculinity within
the monumental capacity is a building,
the spatial treatment of tactile qualities,
edges and thresholds and other elements
of architecture may promote a critical way
of spatial design, which is the doctrine
associated to feminism and architecture.
6
K.A. Franck. A feminist approach to
architecture. In E.P. Berkeley and M.
McQuaid (Eds) Architecture: A Place for
Women. Washington, D.C.: Smithsonian
Institution Press, 1989: 201-216
7
Sawicki, Jana (1986). Foucault
and Feminism: Toward a Politics of
Difference. _Hypatia_ 1 (2):23-36
8
Mcgaws, J. (2004). Janet Mcgaws urban threads installation Project. [image] Available at: http://www.
feministpractices.com/mcgaw.html [Accessed 16 Aug. 2019].
The Urban Threads project was a temporary installation that discovered the ways in which people without
ownership, large capital and power create the urban fabric; especially the public spaces that inhabit the
dwellers that take ownership of the urban fabric. This collaborative example became the understanding and
starting point to feminist principles in architecture and an exemplar to those codes.

9
The feminist codes are a set of doctrines
or principles that were originally sparked
by K.A Francks “Feminist approaches
to architecture”9
which brought across
principles of:
o Connectivity
o Inclusivity
o An ethnic of care
o The value in knowledge of Subjectivity
o The everyday experience
o Complexity
o Change and Flexibility
Although these principles are esteemed
and hold most grounds within spatial 2019
Feminist ideas, the essay brings to light the
principles contextualized in South African
Architectural Projects. The projects where
either collaborative with both male female
architects or singular practitioners.
9
K.A. Franck. A feminist approach to
architecture. In E.P. Berkeley and M.
McQuaid (Eds)
“THE FEMINIST CODE TO ARCHITECTURE.”
- N.Boshoff
Collage 1: The feminism codes introduction collage compost of the author within a red light district
background. The notions of the self and the consciousness associated to an environment is the start to
understanding the associations towards females and space.
The set of principles may overlap, just
as overlapping identities play a role in
an individual’s form of difference.10
This
is the notions towards achieveing good
architecture; the overlapping of individual
ideas. These set of codes selectively
interchange and reintroduce ideas that are
essential to the main overriding principle of a
new feminist ideology.
10
Digitaledition.chicagotribune.com.
(2018). What feminist art looks like today
- Northwest. [online] Available at: http://
digitaledition.chicagotribune.com/tribune/
article_popover.aspx?guid=1b69a695-3a3c-
4bb0-a3f8-8309fd884ebe [Accessed 17
Sep. 2019].
The Feminist Code

FEMINIST THEORY
10
THE FEMINIST CODE:
Figure 1: Sketches of the Intersectionality design
project by the author who set out design principles
fortherelationshipofthecourtyardtothecourtroom.
Wolff Architects (2014). The Watershed Project by Wolff Architects: Radinka Mulder. [image] Available at:
http://www.wolffarchitects.co.za/projects/all/watershed/ [Accessed 18 Aug. 2019].
The Watershed in Cape Town, South Africa was designed by Wolf Architects. The buildings open plan and
voids between semi private and public spaces displays connectivity and inclusivity across the levels and
planes within the building.
I) Connectedness:
A fundamental sense of being connected
to others and the environment that people
can associated with. The notion bring unity
of individuals and can bring a sense of
connecting to the world. A sensitivity to user
feeling the connectedness or an awareness
of elements of architecture is part of the
process to achieve “connectedness” to the
environment.
Connectedness may translate to the
aspiration for greater unity between different
types of events. The space to support these
various events and more appears in many
feministproposalsofalternativecommunities.
This relates to the ideas associated to “multi-
use” or open plan flexible spaces that could
facilitate the connectedness in elements of
sound or visual connections while trying to
create threshold that can separate program
“zones”.
Connectedness may also be the
accessibility of knowledge through a lived
experience. (This principle relates a lot to
phenomenological desires of “being in the
world.”11
)
In architectural elements, connectedness
challenges ideas of barriers and the
translucent of thresholds of in-between
spaces. The challenge of exterior to interior
to semi interior to other prescribed types of
spaces, become interesting, especially in
the treatment of these edge conditions.
11
Crysler, C., (Christopher Greig), Cairns,
S. and Heynen, H. (2012). The SAGE
handbook of of architectural theory; CH 7
Architectural Phenomenology and the Rise
of the Postmodern. London: SAGE, pp.131
- 142.
The inclination of opaque, translucent
and solid would assist in communicated
various forms of either distinct connectivity
or abstracted connectivity. This may form
part of a spacial approach to architectural
elements.
The inclination of opaque, translucent
and solid would assist in communicated
various forms of either distinct connectivity
or abstracted connectivity. This may form
part of a spacial approach to architectural
elements.

11
Figure 2: Sketches of the Intersectionality design
project by the author who set out design principles
fortherelationshipofthecourtyardtothecourtroom.
Noero Architects (2019). St. Cyprian’s School – Library by Noero Architects. [image] Available at: http://www.
noeroarchitects.com/project/st-cyprians-school-library/ [Accessed 25 Oct. 2019].
The St. Cyprian’s School Library is the best exemplar of critical thinking within an ethnic of care associated
to children and learning environments. The project speaks towards progressive versus Pathological
conservation, Archaic Space and Third Spaces.
II) The Inclusive Dynamic:
An aspiration for inclusiveness of users in an
environment in vital. This code would aim to
overcome perceived or existing dualities and
bring coherency to these dualities.
Inclusivity works within the social dynamics
and spacial practices. This can be achieved
by either created accessibility within spaces
or it can assert a universal accessibility
associated to various users.
Although there may be distinct private and
public programs associated to a building,
the designing of the in-between spaces
and the user interface may become part of
the inclusivity of all users. Disabled access
and users ergonomics and anthropometrics
needs to be considered towards achieving a
universal design.
The connectivity (the first set out principle
in the feminist code) and inclusivity can
occur eon many levels simultaneously and
have a particular synergy towards each
other. Connectivity and inclusivity work well
in challenging public and private barriers,
in the loss of anonymous realms, the
connectedness between blurring lines of
architect, client and user as well as spatial
and visual connections in spaces.
III) The ethnic of Critical Thinking:
The responsibility of the Intersectional
feminist is to be competent in uncovering
needs of others and responding to those
needs with optimum solutions.
The critical approach respons by investigating
and challenging client briefs with an ethnic of
care. This is part of the social consciousness
and terms to “caring”.
The concern for human comfort and growth is
part of the process within this principle. This
concern can be the considerations of the user
and the tactility appropriate to the context.
Although this may be a re-interpretation and
bring across the ideas of the third space,
which is defined in this paper as a user being
part of a larger spatial relationship. The third
space wherein the new space sits adjacent to
or within a larger space and has its own sense
of energy or pause action within users.12
12
Noeroarchitects.com. (2015). St. Cyprian’s
School – Library | Noero Architects. [online]
Available at: http://www.noeroarchitects.com/
project/st-cyprians-school-library/ [Accessed
8 Sep. 2019].
The Feminist Code

FEMINIST THEORY
12
Roodt Architects (2019). Apartheid Museum by Architect Linda Mvusi. [image] Available at: https://www.
travelground.com/attractions/apartheid-museum [Accessed 25 Sep. 2019].
The Apartheid Museum by Lida Mvusi is an extra ordinary architectural example of giving the user the lived
experience of theApartheid Regime in SouthAfrica and considers the visitors circulation and perception roles
to be switched to create either empowerment or disempowerment. The emotional individual’s relationship to
the space is critical of the design and is effective.
.
.
V)The Relationship of a body to the world:
The recognition that an individual with a
particular set of identities has a particular lived
experience and an underlying relationship
to the world. This principal has a particular
interest in the public spaces and urban
spaces which is complex when considering
the wide variety of users. This relationship
of public spaces can be one of separation
and dichotomies in comparison to notions of
community and unity.
Within spatial practice, males general
practice of space making had been identified
by one of dichotomies, separation and
difference.13
This masculinity type complex is
created by the denial of connection. This is
in contrast to females who had practiced a
self-in-relationship. This becomes extremely
evident within the designing of public spaces.
The architectural element of “inconspicuous”,
visibility and a gaze is significant within public
spaces. The relationship of the body to the
street edge, to the vehicular movement,
another unfamiliar body and to street
furniture or the lack their of is tiny details that
can inform successful design from the female
diagnostic to a space.
The solution of battles of rights to access the
city is to create more visibility of pedestrians
and the police so that such private actions
such as vagrancy, drug use and other
crimes will be discouraged. This is a simple
exemplar of 2019 contextual social dynamics
that may be resolved through the design of
public spaces.13
13
Agrest,D.,Conway,P.andWeisman,L.(1996).
The sex of architecture. New York: Harry N.
In general the acknowledgement of the
everyday lived experience and the scenarios
played within the life of the user is significant.
This would mean that the enhancement
of everyday activities and thus the way in
which a designed environment could support
and enhance the lived experience. This
consiousness to the individual and the world
would make large-scale, single use, copied
and replicated buildings unacceptable.
V) Values of Subjectivity and Feelings:
The acknowledgement of subjectivity as
a method of knowing is critical to spatial
design. This uncovering of users feelings give
informant to spatial knowledge is significant.
This principle engages with users within the
form of workshops or conversations to seek
knowledge toward design solutions.
This brings to light the relevance of informal,
intimate and caring relationships between
people and spatial settings.
The notions of building programs can
reinforce such relationships. The rational or
the role of the architect may become part of
a facilitator whole while handing over design
decision to users or community members.14
The knowledge base gained from users within
the context may become the informative
of greater user friendly design solutions
which has a higher posibility of a community
accepting and using the building.
14
2019 Recherches théâtrales au
Canada. (2018). Space and Subjectivity.

13
VI) Multiplicity:
The need for more complexity allied with an
attention to multiple use, more awareness of
change and the need for un-static notions
and perceptions of space is termed as
“multiplicity”. Multi-use is often identified by
either open-plan spatial arrangements or to
public exhibition spaces and installations
which are multi-facet by nature.
Spacial installations that play with light,
sound or other qualities which challenge the
notions of the typical architectural practice
is associated to this category and the
challenging of the dispositions becomes part
of the complexity and awareness of spacial
qualities.
Multi-use is often the result of adaption of
program and the required association for the
change over time.
Multiplicity or complexity may be the result
of the tectonic expression associated to
various junctions or various tactile variations
associated to the design.
Multiplicity is an overlapping in itself and can
be implied in both a building or a spacial
installation. This is an exploratory code and
is not limited to the prescribed description.
Garson, F., Cohen, N. and Martinson, W. (2019). WAM (Wits
Art Museum), Johannesburg, SA 2010. [image] Available
at: https://www.cohengarson.co.za/wam [Accessed 12 Apr.
2019].
WAM is a great exemplar toward multiplicity and complexity
associated to building form and readapting an old petrol
garage. The gallerys multi-layered forms and circulation
brings across multi-functional possibilities in with open –
plans and complexity.
de Villiers, S., Kaskar, A. and Vally, S. (2019). Folded Skies sculpture mimics the light
quality by the Johannesburg’s gold mine dust created by Counter Space. [image] Available
at: https://www.dezeen.com/2019/01/06/folded-skies-counterspace-installation-spier-light-
art-festival/ [Accessed 18 Sep. 2019].
The installation of large coloured mirrors recreates the rainbow-like beauty of
Johannesburg’s toxic sunsets. The installation has a spacial relationship between the
viewer and the object and formulates complexities in discussions. The critical thinking
and approach towards bringing across both the problem statement within an architectural
expression is outstanding.
The Feminist Code

FEMINIST THEORY
14
Zeitz MoCAA by Heatherwick Studio Cape Town. (2017). [image] Available at: https://www.
architecturalrecord.com/articles/13122-zeitz-mocaa-by-heatherwick-studio [Accessed 21
Jul. 2019].
The Zeitz MoCAAArt Museum, is an exemplar to buildings of change by the architect reinvent
the historic Grain Silo at the V&A Waterfront in Cape Town to a internationally esteemed art
gallery. The adaptive redesign of spaces and the flexibility associated to the gallery is highly
commendable.
Figure 4 Sketches of the flexibility
provided by a folding glass door to create
accessibility and also eliminate a boundary.
VII) Adaptability and Flexibility:
The acceptance of change and flexibility to
accommodate for change is highly influential
and considered by feminism in architecture.
Their is an consciousness of change and
the desire for flexibility over time within a
design. The code relates to the unpacking of
adaptable and flexible designs and what that
spatially may imply.
Adaptability is based around issues of
use, flexibility is around issues of form and
technique.15
The perception of a need for changeable
buildings than architectural utopias or “final
products” is important. Understanding
ingenious systems to make a serious
imaginative assessment of special
relationship of a user and their environment
may be part of the user changing and thus
the need for the building to change.
The unique designs plasticity has a particular
privacy and freedom which is significant. The
redesign, reinterpretation and reinventing
buildings and building program is the
transition or adaption which constitute
feminist principles.
15
Schneider, T. and Till, J. (n.d.). Flexible
housing.
The forms and the principles of loose fit
architecture are used to create meaningful
architecture. The principle of a building being
“”loose fit”,16
unpacks the building as a “loose
fit T-shirt”, the user can grow or shrink, the
user could even change but the T-shirt is still
“fit for purpose”. This is the principle for good
architecture and architecture for change.
In essence, Rowan Moore quoted; “the
essential insight that buildings should
respond to the lives that go on in and around
them, and that when those lives change they
should be able to change too…”17
is the ideas
of the adaptable and flexibilty feminist code
16
Wiley.com. (n.d.). Loose-Fit Architecture:
Designing Buildings for Change. [online]
Available at: https://www.wiley.com/en-us
Loose+Fit+Architecture%3A+Designing+
Buildings+for+Change-p-9781119152644
[Accessed 10 Feb. 2019].
17
Rowan Moore, The Guardian, 18.11.2018,
The World according to Archigram

15
Collage 2: Graphic illustration of a decayed courtyard with the Author as part of her Atopia concept
presentation, an elective of “Un-mapping”; dated 2016. Representation by the Author.
CONCLUSION
Feminism in Architecture has adapted and
translated through time. The doctrine of
critical spatial practice has begun and is
an exemplar to practitioners with the built
environment.
Although spacial hierarchies and
discrimination on the basis of gender may
occur within the context, the narratives and
associated spatial consciousness is evident.
The adaption of feminism in architecture
have sparked transitions to create new
contextual approaches of spacial design
principles to architecture.
These social cultural manifestations
transitions within a global community have
caused intrigue into a way of unlocking
potential as a combat against architecture
of difference. The change in approaches of
designing the built environment has been
presented as a form of codes that can be
applied or considered within the design of
the built environment.
The spatial activation through the feminist
code would enhance the environment and the
users of the environment. These principles
are set as:
o connectedness
o the inclusive dynamic
o the ethnic of critical thinking
o the relationship of the body to the world
o the value of subjectivity and feeling
o multiplicity
o Adaptable and flexible
As architectural professionals, we are taught
to be feminist by nature. Thats why the
clarirification of who the code is implied to
is for all designers or architects. In the 2019
context of South Africa, “We should all be
feminist.”18
18
The Feminist Code

17
A Feminism, Gender and the Other
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