Editor Mignon O'Young. Author Kira Gould and Book Circle. Alexandra JaYeun Lee.
Coastal Yucca. Close X Send an email to:. She created the GAB Report in the spring of as a way to share with others the green building projects with which she was involved while working at Citizens Housing Corporation in San Francisco. At the same time, it gave her the opportunity to reach out, connect and kindle an international community with other design professionals, manufacturers, and anyone who cared about green and sustainable design or wanted to learn more.
Contested Spaces: Abortion Clinics, Women's Shelters and Hospitals: Politicizing the Female Body [Lori A. Brown] on ykoketomel.ml *FREE* shipping on. Editorial Reviews. Review. 'In Contested Spaces: Abortion Clinics, Women's Shelters and Contested Spaces: Abortion Clinics, Women's Shelters and Hospitals: Politicizing the Female Body - Kindle edition by Dr Lori A Brown. Download it.
I urge you to get to know the GAB Report. Mignon makes it a point to provide in-depth reporting, be timely, tell the backstory of the project, and make sure that the technical terminology of green features and strategies is easy to understand. She also encourages guest writers to contribute ideas and share words and photos of their own green projects: buildings, urban planning, landscaping, products, conferences.
Consider contacting her at contact gabreport. Bravo Mignon!
We were fortunate to have co-author Kira Gould in attendance to answer questions about the roles of women in sustainability over time and her experiences in writing the book. Questions developed from Book Circle Members were also posed to the group. Women in Green is an inspiring and thought-provoking read. It features interviews with key female players, including Hunter Lovins, Jeanne Gang, and Lynn Simon, in their journey toward an integrated sustainability.
It addresses how women tend to problem solve through holistic community-based proposals, rather than through the "band-aid" of technology. We are definitely interested in widening our circle and hearing the OWA voice on the topic of sustainability.
Below are a few questions. We'd like to hear some comments from YOU: In your experience, where and how is the dialogue about sustainability happening? With public or private clients, consultants, colleagues on design teams, internal to your own office, within professional associations, in the schools or in the media? Who is leading these discussions? Women in Green authors mention that "green" has been associated with women's stereotypical urge to nurture, think beyond short-term profit and take responsibility. When progress is being made in this area, does that mean that people are listening to us as women?
If so, does this help with gender equality as well? In the last several decades, many organizations have evolved to push the sustainable agenda forward. Some mentioned in the book include Adaptive Environments, a nonprofit organization overseeing universal design and sustainability. Cal Poly San Luis Obispo has a sustainable environments program. There is a U. Anti-choice protestors regularly exercise their first amendment freedoms by protesting out in front of abortion clinics across the United States. This right is part of the freedom individual citizens of this country have to publicly speak out against issues one is against and anti-choice protestors are protected under law to be able to do so.
State and federal courts have ruled both in support and in opposition to certain abortion rights cases weighing free speech against abortion access.
The FACE law protects anyone exercising their right to reproductive services and First Amendment religious freedoms and makes unlawful to intentionally damage or destroy facility property or places of worship. Schenck v. Pro-Choice Network of Western New York upheld a foot fixed zone around doorways and doorway entrances, parking lots entrances, driveways and driveway entrance of the clinic facilities. Hill v. Colorado upheld feet fixed zone around health care facilities and 8 feet bubble zone around someone entering and exiting a clinic.
Elizabeth Grosz asking how to think architecture differently — how do spaces of abortion provoke different possibilities? Room, wool, me, you.
And over three long days the woman redistributes the wool, as interior carpet landscape, or else she packs it tight so that it blocks the recess of what is the main door, which is, in any case, locked closed. The smell of greasy wool must be pronounced. A bale of greasy wool is as good as a coyote, she says to herself.
I love to you, she murmurs. Julieanna Preston is a New Zealand academic and creative practitioner of architecture and interiors who asks persistently, what can an interior surface do? Who thereby insists through this probing that we will not get to the end of what an interior surface can do.
This assumes that a lasting and prudent experimentation is required. Instead I want to insist that the only viable entry point requires an acknowledgment of the persistence of utter matter, and that material immersion persists at ever turn. You are in the midst of things, and with these things you form confederations, corpuscular societies, molecular collectives.
Privileged position is a kind of conceit you construct to get by. If you can claim a privileged position, it is only ever temporary, partial, and fragmentary. The work has neither beginning nor end, and in any case beginnings and ends are of little interest. The work instead draws urgent attention to material relations that are increasingly at risk of becoming exhausted, especially because what a material can do has not yet been given sufficient consideration.
For too long mere matter and its special relationship with the interior has remained that which has been taken for granted, a situation that Julieanna has already done a great deal to remedy, in that she follows the material, rather than imposes pre-established ideas upon it. Julieanna uses an exacting, exhaustive material approach to speculate on political events, real and speculative, using fictional writing and imagery, as well as sculpted objects or props, installation and performance pieces.
Her work has driven her incrementally toward a series of site-specific installations where she explicitly acknowledges that her performing body is one medium amidst many. She has frequently addressed the interior materials of her local institutional environments so as to allow them the opportunity to speak, but she has also ventured further out into less circumscribed environments to engage with the mud of toxic rivers.
Her engagement with the vibrant matter of her local problematic field is a question of creative resistance. In recognising the immediate and inextricable condition of material relations and flows, resistance can provide the means by which a claim can be made sufficient to define a project. The challenge is how to act from amidst the flux of material relations and flows, so as to secure some material resilience for the time being. Creative resistance, as Julieanna demonstrates, can quite simply be related to material resilience, how a certain material is resistant to moisture, another to sound, and how resistance at times may also have something to do with yielding.
Creative resistance is an acknowledgement of material relations and the potential, and responsibility, you hold to remake yourself and the present otherwise. Luce Irigaray, Donna Haraway, Rosi Braidotti, Elizabeth Grosz, Moira Gatens, and more recently the architect and architectural theorist Katie Lloyd Thomas, the feminist theorist Karen Barad, and the political theorist Jane Bennett have all drawn crucial attention to revitalised engagements with matter.
This critique is more disturbing even than the real risk that feminist practices might be perceived as threatening or exclusive a risk easy enough to diffuse. But what then? The challenge becomes how you can develop an ecological sensibility that attends to the horizontal relations between material humans and material things. It is also important to remember that the things around you do not depend on you to achieve their own significance.