The Bloomsbury Global Encyclopedia of Women in Architecture 1960-2020 fills a void in architectural history, giving students, scholars and professional architects an authoritative reference to women architects and their work, and to key terms for gender and women’s rights in architecture. With over 1,000 entries and 600 images across two volumes, the encyclopedia covers a key period in women's history from 1960 to 2020 – from when women entered architecture schools in growing numbers, to the present day. Women now comprise half of all architecture students in many countries but students and scholars lack authoritative, globally connected histories of female forebears peers, and mentors. This encyclopedia introduces them to the notable and overlooked women of the global built world, unearthing hidden histories and founding a new field of historical scholarship. Within a geographical and historical framework, key architects from over 135 countries are included in detailed biographical entries. Coverage includes an expanded field of women designers from related fields (urbanism, landscape, and interiors) plus an enlarged sphere of architectural practice including influential scholars, writers, and activists as well as key terms, themes, books, conferences and exhibitions.
Architectures of Ageing in Place provides curated critical perspectives, from a practice-based research point of view, of buildings that are purpose built and/or refurbished to accommodate housing and care needs of older people ageing in place in high rise/medium rise integrated communities. This book identifies design innovations, in line with policy innovations, that have been made across private and public sectors to accommodate wellbeing and quality of life of older people living in integrated communities, which continue to foster intergenerational dialogue and exchange, and advance social citizenship. Case studies from a diverse range of geographies are examined including Portugal, Singapore, India, New Zealand, UK, Sweden, Belgium and the US. Chapters are grounded in evidence-based research including substantial primary data and post-occupancy evaluation, specifically the evaluation of architecture’s ‘social performance’. Projects highlight high-rise / medium-rise as an emerging and successful typology in accommodating residential and care needs of older people. Taking a broad, interdisciplinary approach, this book will be a helpful reference not only for architects, designers and urban planners but also for students and practitioners in health and social care, gerontology/ageing, and medical sociology.
Through the theoretical lenses of dress studies, gender, science, and visual studies, this volume analyses the impact John Ruskin has had on architecture throughout the nineteenth and twentieth centuries. It explores Ruskin’s different ideologies, such as the adorned wall veil, which were instrumental in bringing focus to structures that were previously unconsidered. John Ruskin and the Fabric of Architecture examines the ways in which Ruskin perceives the evolution of architecture through the idea that architecture is surface. The creative act in architecture, analogous to the divine act of creation, was viewed as a form of dressing. By adding highly aesthetic features to designs, taking inspiration from the 'veil' of women’s clothing, Ruskin believed that buildings could be transformed into meaningful architecture. This volume discusses the importance of Ruskin’s surface theory and the myth of feminine architecture, and additionally presents a competing theory of textile analogy in architecture based on morality and gender to counter Gottfried Semper’s historicist perspective. This book would be beneficial to students and academics of architectural history and theory, gender studies and visual studies who wish to delve into Ruskin’s theories and to further understand his capacity for thinking beyond the historical methods. The book will also be of interest to architectural practitioners, particularly Ruskin’s theory of surface architecture.
Surface in architecture has had a deeper and a more pervasive presence in the practice and theory of the discipline than is commonly supposed. Orientations to the surface emerge, collapse, and reappear, sustaining it as a legitimate theoretical and artefactual entity, despite the (twentieth-century) disciplinary definition of architecture as space, structure, and function. Even though surface is defended for its pervasiveness (Kurt Forster), its function as a theoretical motif with generative power (Andrew Benjamin), and in constituting the operative principles of modern architecture as a visual phenomenon (Mark Wigley), it occupies the interstice, or the space of the unconscious within architectural discourse, from where it defends its legitimacy as architecturally valuable or ‘functional,’ as opposed to merely visually pleasurable. Surface and Deep Histories positions surface within the scholarship of critical theory and design-based approaches, and invites academics and designers, and art and architectural historians based in Australia to consider the uses, figurations, scales, and typologies of surfaces.
Built, Unbuilt and Imagined Sydney is a collection of essays based on built and unbuilt works (residential, commercial, interiors, and so on) of interest in Sydney, inclusive of public art, object or furniture design, key invited or public lectures, studios, current projects in making, competitions, collaborations, exhibitions, installations, and outreach work. The focus is on the innovative and the original not the ordinary and the functional. The purpose of this is to reveal the expanded field of architecture, and that the practice of architecture exceeds the work legally defensible under the title of the architect. The emphasis is placed on practice as an intellectual activity and on contemporary practice of architecture as the meaningful exercise of social, political, and critical knowledge, skills, and mindset in an urban, spatial, and tectonic condition. The book reveals that all or most architects either adopt as their own or have an interest in an(other) field, such as visual art, urbanism and landscape, virtual reality and three dimensional imaging, installation art and lighting design, and so on.
In addition to the books, I have written over 80 essays, articles, papers, edited journals and proceedings. My writings examine Ruskin’s architectural theories, surfaces, textiles, dress and modernity; materiality and the body; feminist architectural histories, gender and academic leadership; literary approaches to architectural education; feminist studio pedagogy; decolonising architectural curricula; architectural criticality; contemporary Australian architecture and urbanism; exhibition cultures; and the intersections of architecture, professional practice and institutional change. Please click on the image to read
Whitespace 4.0. School of Design and Innovation. Bangalore: RV University, 2026
Whitespace is a student led design book series. It is also a research-teaching project around the role of media and communication in articulating a situated and collective scholarship that positions student expression as knowledge production. Whitespace historicizes institutional life in the design school in a non-recuring format such that every issue has its own personality and character. It not only documents culture and life within and beyond the academy, but it also presents critique of contemporary culture, articulates students’ agency, positions design education within broader society. The title of the publication was conceived as a play on the graphic design concept of the whitespace and an element of our modern life, a space in the timetable to do absolutely nothing. It expands the understanding of scholarship beyond conventional academic outputs to include lived experience, creative inquiry and collective meaning-making. This was a collaborative activity that I led with academic staff and students of RV University.
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For With and Against AI. Annual Exhibition Catalog. School of Design and Innovation. Bangalore: RV University, 2025
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In line with my research on the expanded and public life of architecture (Built, Unbuilt Imagined Sydney) and exhibition as scholarship (Shared Territories), my critical pedagogic practice as scholarship has also been informed by students’ engagement in curatorial practice and exhibitions. Ellipsis was the exhibition identity at the School of Design and Innovation, RV University. The three dots is a stark reminder of the instant digital domain we inhabit, marked with anxiety of the yet to be, the interrupted thought, the future, the unfinished yet signalling optimism and not just fear. This identity became the apt forum to explore theoretical positions like technology, society and climate change in Newave23 (2023); social justice in Design for Justice (2024), and interrogations of design’s identity and existential crisis in For, With and Against AI (2025); and the Digital Showcase (2026) was concerned with design’s response to complex everyday systems and uncertain futures. The themes are always around the ‘now,’ which fit ‘that’ year, and no other, and to its very core, this is a question of history, specifically one purported by Walter Benjamin, and the historicity of now. This was a collaborative activity that I led with academic staff and students of RV University. See Link for editorial and design credits.
Young Designer 2026. School of Design and Innovation. Bangalore: RV University, 2026
Young Designers 2026 is more than a yearbook; it is a record of design research through studio projects by the graduating batch. To this end, this is an archive, record, and an anticipatory document of ‘what now, where to next’ as it shows where the future designers are headed. It is a collective document of creative practice and professional becoming. It records the matters of concern that inform 100+ student projects as well as the disciplinary diversity that characterises the design field, as well as overlaps and connections. This document which is produced for every graduating cohort highlights the optimism of the new generation, as well as their the informed experimentation and deliberate risk taking.