Women into Non-Traditional Sectors: Addressing Gender Segregation in the Northern Ireland Workforce

The horizontal segregation of the workforce along gender lines tends to assign women to lower paid, lower status employment. Consequently, schemes to address segregation have focused on preparing women to enter non‐traditional occupations through training and development processes. This article examines models to encourage women into non‐traditional employment, focusing on the Women into Non‐Traditional Sectors (WINS) project in Belfast, Northern Ireland. However, changing women to suit a hostile work environment assumes women to be the problem, whereas it is the barriers that women face in undertaking non‐traditional jobs that need to be changed. It is concluded, therefore, that while models such as WINS can be successful in assisting women into non‐traditional sectors, change processes to make workplaces more accessible are a more pressing and appropriate approach to de‐segregating the workforce.

Sound Art and Public Engagement in the Built Environment: Reflections from an Architecture Center

This article explores the deployment of sound in architectural-curatorial and community engagement contexts through the work of PLACE, a multidisciplinary not-for-profit architecture center in Belfast, Northern Ireland. The author, who worked with PLACE and contributed to the projects discussed here, contextualizes architecture centers and their relationship with sound before examining the specific case of sound and sound art in Northern Ireland and case studies of projects delivered by PLACE. Specifically, the article evaluates two sound installation artworks and three community engagement projects for young audiences. As a means of curating urbanism and architecture, sound-art-as-public-art affords useful strategies to examine, describe or critique the environment as alternatives to traditional architecture exhibition formats. Sound’s temporality and materiality allow sound art works to exist as temporary sculptural interventions in the urban sphere, with attendant implications for public art procurement and urban acoustics. Rich territories of engagement are opened when using sound in a community participatory context.