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 <title>A Feminist Monument (for Marion Mahony)</title>
 <author>Susana Torre</author>
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 <resp>Editor (2024-Present)</resp>
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 <persName>Maya Wadhwa</persName>
 <resp>Editor (2021-2023)</resp>
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 <persName>Kelly Troop</persName>
 <resp>Editor (2023-Present)</resp>
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 <persName>Lucy Wadswoth</persName>
 <resp>Editor (2022-Present)</resp>
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 <persName>Anna Marie Wingard</persName>
 <resp>Editor (2023-Present)</resp>
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 <persName>Olivia Wychock</persName>
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 <funder>Bucknell University Humanities Center</funder>
 <funder>Bucknell University Office of Undergraduate Research</funder>
 <funder>The Mellon Foundation</funder>
 <funder>National Endowment for the Humanities</funder>
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 <street>One Dent Drive</street>
 <settlement>Lewisburg</settlement>
 <region>Pennsylvania</region>
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 <licence>Bucknell Heresies Project: Creative Commons Attribution-NonCommercial 4.0
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 <licence>Heresies journal: © Heresies Collective</licence>
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 <title>Patterns of Communicating and Space Among Women</title>
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 <publisher>HERESIES: A Feminist Publication on Art and Politics</publisher>
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 <name>Heresies</name>
 <postBox>P.O. Boxx 766, Canal Street Station</postBox>
 <settlement>New York</settlement>
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<head>A Feminist Monument (For Marion Mahony)</head>
 <byline><persName key="Susana Torre" ref="http://www.wikidata.org/entity/Q7648617" cert="high" type="real">Susana Torre</persName></byline>
 This project was submitted in 1975 to an international competition for a memorial to
 Walter Burley Griffin, the American architect who designed Australia’s capital city,
 Canberra. It was to be built on the summit of the highest mountain in the area.
 Griffin (1876-1937) worked with Frank Lloyd Wright and practiced in Chicago, but
 settled in Australia in 1914, after winning the Canberra commission. He was the
 husband of Marion Mahony (1871-1961), who collaborated with him in the Canberra
 competition; her drawings in photodyes and watercolor on satin reputedly won him the
 prize. 
 Mahony graduated in architecture from MIT in 1878 and was the first woman licensed
 to practice architecture in Illinois. In 1895 she entered Wright's Oak Park studio,
 earning a meager $10 per week designing ornamental work and details. Her
 extraordinary renderings in the famous Wasmuth Portfolio established Wright’s
 international fame and influenced Bauhaus and De Stijl designs. In 1909 she became
 chief designer in Wright’s office, but received no public recognition. Many of her
 designs were subsequently attributed to Herman von Holst. (In her unpublished memoir,
 Mahony obliterated von Holst’s name from drawings of this period, sometimes writing
 her own over the erased area.) She collaborated on a number of Griffin’s projects
 when they married in 1911, but remained in his shadow. After his death she returned
 to the U.S. and designed two major community planning projects (unexecuted),
 commissioned by Lola Lloyd, a pacifist, feminist and co-founder with Jane Addams of
 the Women’s International League for Peace and Freedom. 
 The monument here is based on a series of spatial metaphors considered archetypally
 female in our culture, in honor of the presence and influence of Marion Mahony, who
 was not chosen to be honored by the organizers of the competition. 
 The visitor is led through a passage aligned with the city’s land axis into the
 observatory’s tridimensional facade, where three windows open on the city's main axes
 and civic monuments. The passage is partially contained within one-half of a circular
 pool and entered through a pink marble doorway. After seeing the city below from the
 conceptual perspective composed by the windows, the visitor descends to the lower
 level of the observatory. There, enclosed by a pink marble "room" dug into the
 mountain, whose entrance is on the level above, is Griffin’s effigy. Water from the
 upper-level fountain cascades around the marble room into the half-circle fountain
 that surrounds the observation platform one level below. From this vantage point, the
 city is again viewed, framed by the stairs, which are aligned with its diagonal axes.
 Thus the city (the public realm of action) is seen from within two enclosures: the
 "house" above (woman as social being) and the "cave" below (woman’s body). 
 Since Mahony was not a feminist and did not demand recognition for her talent and
 work, this building —a metaphor for woman’s body as a physical, nurturant receptacle
 and as a spiritual and intellectual vessel — most accurately represents her role. Its
 symbolic elements are water, earth (as primal shelter and last sanctuary),
 door/passage, "window," circular composition, pink marble doorway and interior
 "room." The memorial can also be conceived as an anti-monument, in that the building
 is not meant as a monument to a man but as a means to focus the observer’s attention
 on the idea of the city as a monument of culture. 
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 <back>
 Susana Torre is an Argentine architect practicing in New York. She was curator and
 editor of <title>Women in Architecture: A His toric and Contemporary
 Perspective</title>.
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