VIRTUAL London.

Abstract

The advent of Modernism brought about significant shifts in the roles of women, who were traditionally confined to domestic spaces as homemakers. With the emergence of Modernist architectural aesthetics, women’s profiles within the domestic sphere were elevated, transitioning from the isolated confines of the kitchen to more open-plan environments. This architectural transformation not only reshaped gender dynamics but also mirrored evolving societal attitudes to livability. A notable depiction of this shift can be seen in Julius Schulman’s iconic photograph, “Case Study House #22 (Two Girls),” captured in 1960 of Pierre Koenig architecture. The image features two women seated amidst a modernist interior framed by floor-to-ceiling windows that offer views of the Los Angeles cityscape. Despite the glamorous setting, the women appear somewhat isolated, reflecting a sense of disconnection within the domestic scene. Schulman’s photograph, with its distinct aesthetic and cinematic quality, has since become emblematic of the Modernist movement in California, inspiring various cinematic and advertising endeavours. In contrast, Rigby.Mullan’s portrayal of the Greer/Frith House in Titirangi, Aotearoa, completed in the same year, offers a different perspective. While Mullan’s image also features expansive windows connecting the interior to the surrounding landscape, there is a greater emphasis on openness and connection with the outside environment. The presence of two empty seats suggests the potential for conviviality and conversation, contrasting with the perceived isolation depicted in Schulman’s photograph. This paper explores the eclecticism within these two images, considering their positions across the Pacific rim and examining Walter Benjamin’s notion of the aura. Through a comparative analysis of Schulman’s and Mullan’s works, it seeks to shed light on the complex interplay between architecture, gender dynamics, and societal values during the Modernist era.