OUT of Space

Explore how architectural spaces have shaped LGBTQ+ identities and communities throughout history. This guide aims to foreground some of these often underrepresented stories.

By Royal Institute of British Architects

The content from this narrative comes from a display which featured in the Library in 2023, Out of Space as well as research and

Float commissioned as part of Pride by Photographer: UnknownRoyal Institute of British Architects

Hidden Histories

The RIBA's Library and Collections hold a wealth of resources related to LGBTQ+ history, but many stories remain hidden. This narrative brings to light some of the spaces where LGBTQ+ communities have explored, celebrated or concealed sexual and gender identities. 

Cathedral of Santa Maria del Fiore, Florence (1980) by Architect: Filippo Brunelleschi (1377-1446); Arnoifo di Cambio (c.1240-c.1302) and Photographer: Bernard Hugh CoxRoyal Institute of British Architects

Cathedral of Santa Maria del Fiore, Florence

The iconic dome of Florence's Cathedral embodies the Renaissance. It also holds a secret: queer narratives woven into the fabric of Western architecture. This hidden dimension sheds light on the complex relationship between LGBTQ+ identities and artistic expression.

Cathedral of Santa Maria del Fiore, Florence (1733)Royal Institute of British Architects

Florence's Architectural Wonder

The completion of the dome in 1436 was a marvel of engineering by Filippo Brunelleschi and remains the largest spanning brick dome in history, measuring 46metres. Beyond its technical feat, the stories that encircle the dome also tell us much about LGBTQ+ lives past and present.

Contact sheet of Cathedral of Santa Maria del Fiore and the Piazza della Signoria (1963) by Architect: Filippo Brunelleschi (1377-1446); Arnoifo di Cambio (c.1240-c.1302) and Photographer: Edwin SmithRoyal Institute of British Architects

Power and Pride

Brunelleschi’s duomo became an important symbol of Florentine power and pride. It also provided a secluded space for male homosexual encounters. Its attraction as a place for men to meet continued, to the extent that public access was banned in 1552. See link for more...

Strawberry Hill, Twickenham, London (2010) by Architect: Richard Bentley, John Chute, William Robinson, Horace Walpole (1717-1797) and Photographer: Martin CharlesRoyal Institute of British Architects

Strawberry Hill - a vision of Gothic Revival 

The writer and politician, Horace Walpole (1717-1796), 4th Earl of Orford, was a key patron of art and architecture. From 1747 to 1776, he collaborated with John Chute, Richard Bentley, and James Essex to create this Gothic Revival villa in Twickenham, south-west London.

Strawberry Hill, Twickenham, London (2007) by Architect: Richard Bentley, John Chute, William Robinson, Horace Walpole (1717-1797) and Photographer: Martin CharlesRoyal Institute of British Architects

'Gloomth'

Walpole described entering Strawberry Hill as evoking a sense of "gloomth"—a mix of gloom and warmth. He coined the term to capture the sombre, atmospheric mood he aimed to create in his "little Gothick castle," highlighting the unique ambience of the Gothic Revival interiors.

Strawberry Hill, Twickenham, London (2010) by Architect: Richard Bentley, John Chute, William Robinson, Horace Walpole (1717-1797) and Photographer: Martin CharlesRoyal Institute of British Architects

Gothic Flair

Walpole’s creative flair went beyond linguistic invention, however. From an architectural standpoint, Strawberry Hill House was a stylistically subversive, if not a pioneering space.

Plas Newydd, Butler Hill, Llangollen, Clwyd (1890) by Architect: unknownRoyal Institute of British Architects

The Ladies of Llangollen

Lady Eleanor Butler and Sarah Ponsonby chose to live together in Llangollen, Wales, defying societal norms. Their home, Plas Newydd ('new mansion' in Welsh), became a haven for artists and intellectuals. Their love story challenged the conventions of their time.

Ashbee's studio, 37 Cheyne Walk, Chelsea, London (1969) by Architect: Charles Robert Ashbee (1863-1942) and Photographer: Sam LambertRoyal Institute of British Architects

Cheyne Walk

Charles Robert Ashbee, architect and key figure in the Arts & Crafts movement. He was married but describes his love for other men as his “guiding light”. He was also a member of the Order of Chaeronea, an ‘underground’ supportive network for members of the gay community.

Design for the rebuilding of 38-39 Cheyne Walk, London (1899) by Architect: Charles Robert AshbeeRoyal Institute of British Architects

Spaces for freedom

Interior spaces in the Arts & Crafts movement, such as Ashbee’s family home in Cheyne Walk, Chelsea, have been discussed as sites of sexual freedom, where ‘respectable’ domestic life intersected with homosexual fellowship.

Sissinghurst Castle& Gardens, Kent (1932) by UnknownGarden Museum

Sissinghurst Castle

Writer and garden designer Vita Sackville-West had an open marriage with diplomat Harold Nicholson, and both had same-sex lovers. Their home, Sissinghurst Castle in Kent, became the backdrop to these romances, while its famed garden was a product of their creative collaboration over many years. 

Vita Sackville-West's writing desk, Sissinghurst Castle (1962) by Architect: Vita (Victoria Mary) Sackville-West (1892-1962) and Photographer: Edwin SmithRoyal Institute of British Architects

Literary love affair

Vita Sackville-West and Virginia Woolf had a passionate love affair in the 1920s, inspiring Woolf's novel Orlando, a tribute to Vita. Their bond was deep, blending love and literary influence. Sissinghurst Castle, Vita's home, became a symbol of her creativity and romantic life.  

Gluck' Studio, Bolton House, Hampstead, London (1932) by Architect: Sir Edward Brantwood Maufe (1883-1974) and Photographer: Sydney NewberyRoyal Institute of British Architects

Bolton House - artistic sanctuary

Bolton House was more than just a studio for Gluck, born Hannah Glucksteinit was a place of self-discovery as a gender-fluid artist. Edward Maufe was commissioned to design a space to fulfil Gluck's artistic vision and provide a safe haven for exploring their gender identity.

Portrait of Sir Edward Brantwood Maufe (1940) by Architect: Sir Edward Brantwood Maufe (1883-1974) and Artist: Gluck (1895-1978)Royal Institute of British Architects

"with love from Gluck"

Gluck’s portrait of architect Edward Maufe depicts him confidently poised with Guildford Cathedral, his renowned design, in the background. Painted in 1937, it highlights Maufe’s modernist approach to architecture and celebrates his role in creating this iconic structure.

St Ann's Court, St Ann's Hill, Chertsey, Surrey (2003) by Architect: Raymond McGrath (1903-1977) and Photographer: Morley von SternbergRoyal Institute of British Architects

A House for Two Bachelors

Gerald Schlesinger and his partner, landscape architect Tunnard, commissioned architect Raymond McGrath to design their home. McGrath's design, commissioned in the 1930s, allowed the couple to live as bachelors, concealing their relationship in a time when homosexuality was illegal.

Axonometric design for a living room for St Ann's Court, St Ann's Hill, Chertsey, Surrey (1936) by Architect: Raymond McGrath (1903-1977)Royal Institute of British Architects

Hidden features

Built in 1936-7, McGrath's design featured three concentric circles with southern sections cut out for privacy. The master bedroom, shared by the two men, appeared as an anteroom between separate bedrooms. Their custom beds could be split and hidden in alcoves behind curtains for discretion. 

By Ted ThaiLIFE Photo Collection

Philip Johnson: Architect & Advocate

By publicly announcing his sexuality in 1993, Johnson became a prominent voice for LGBTQ+ rights within the architectural field. His design of the Cathedral of Hope, Dallas, a church dedicated to serving the gay community, demonstrates his commitment to inclusivity and his belief in creating spaces of acceptance and affirmation.

Max Clendinning residence, 3 Alwyne Road, Islington, London (1967) by Architect: Max Clendinning (1924-2020)Royal Institute of British Architects

Maximum Modernist Master

Architect, interior and furniture designer, sculptor and artist Max Clendinning (1924-2020) was one of the most enigmatic and intuitive creators of the British Post-war Modern movement.

Max Clendinning residence, 3 Alwyne Road, Islington, London (1969) by Architect: Max Clendinning, Ralph AdronRoyal Institute of British Architects

Artistic Aesthetic

Clendinning lived with his partner, theatrical ­designer Ralph Adron, from 1972, turning the Victorian interior into a laboratory of ideas, exemplifying his fusion of modernism and playful minimalism. The space features custom furniture, striking colour schemes and sculptural forms. 

Credits: Story

Explore more from RIBA Collections here. 
All images are from RIBA Collections unless listed.      

Cathedral of Santa Maria del Fiore, Florence. Rights: Bernard Cox / RIBA Collections
Contact sheet of Cathedral of Santa Maria del Fiore. Rights: Edwin Smith / RIBA Collections
Strawberry Hill images, exterior and interior. Rights: Martin Charles / RIBA Collections
Ashbee's studio. Rights: Architectural Press Archive / RIBA Collections
Vita Sackville-West's writing desk. Rights: Edwin Smith / RIBA Collections
Exterior of Gluck's studio. Rights: Architectural Press Archive / RIBA Collections
Exterior of St Ann's Court. Rights: Morley von Sternberg / RIBA Collections

Credits: All media
The story featured may in some cases have been created by an independent third party and may not always represent the views of the institutions, listed below, who have supplied the content.
Explore more
Related theme
Royal Institute of British Architects
Discover the collections, creativity and ingenuity of the Royal Institute of British Architects
View theme