Master Bedroom Scheme
| Three bedroom house parti with Master Bedroom . |
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| This is the floor plan of the first model. The model was done in 3D studio VIZ, using the CAD parti to layout the walls. The intent was to retain the symmetry of the parti, but to not let the walls and spaces be mirror images. I modeled each wall independently of the its symmetrical image. | 
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| This is an isometric of the wall layout.
The bottom left form is the Master Bedroom. The brown forms in the Master
Bedroom space are the closets and separate what would be the bedroom from
the bath.
The Entry atrium is in the upper right hand corner. The brown form in the center of the image is the Kitchen counter and is the center of the nurturing room, which includes the Living and Dining spaces a adjoining the Kitchen. Down and to the left of the kitchen counter is the Utility Room. The grey oval transparent plane that runs the length the grand space is a sky light. |
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| Perspective of entrance. This leads into an atrium that serves as the transition to the Nurturing room. |
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| Atrium into the space. I see this having
a sculpture and maybe murals on the walls. Also, it would be great to have a
mosaic on the floor. The roof above is a sky light.
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| This image is taken in the Nurturing room looking towards the Kitchen. The wood form in the foreground is the kitchen counter and the vertical forms directly behind it enclose the Utility/Pantry room. The space around the Utility/Pantry room is the hall way back to the bedrooms. |  |
| This image is looking from behind the counter of the Kitchen looking out towards. The large window is symbolic of an eye and will have folds in the walls that are much more undulating, representing the folds seen in the layering of flower petal or skin around the eye. The door to the far right goes back into the Entry atrium. |  |
| This is a standard bedroom space. The
opening to the right will be filled with a window frame. I would like the
window to include both stain glass imagery and clear glass for viewing.
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| This image is looking into the Master? Bedroom the wood forms to the right and left would be closets. Behind them is the Bathroom area. |  |
This scheme was initially presented to Karen Keifer-Boyd and though unconventional in some ways it was very conventional in the hierarchy of the private spaces. Karen wanted more heterarchy in the private spaces creating an greater equality of relationship. The schematic design below incorporates 5 bedrooms into a more heterogeneous relationship of forms.
Below are Karen's initial comments I think they are very useful as part of the dialogue:
The second link, "Parti Diagrams and Plans" have
missing pictures but I read the text. I am glad you can change it to 5 bedrooms
and keep the integrity of "feminine
mystic . . . of relationships, nurturing, and an organic connection to mother
earth and sensuality." In this section will you
describe the removal of a "master bedroom" to five rooms, and will you include
Adetty's interpretation and the class' view about entering and exiting. The
rationale to moving from a patriarchal "master bedroom" concept to a
"partnership relationship" model of 5 rooms I feel fit the feminist house
concept.
I do think that the virtual feminist house
will interest others. Once at Penn State I will contact Judy Chicago, Bill
Mitchell, and others who I think may be interested in its development and
perhaps will want to participate in some way.
I am glad you are documenting your process. The students suggested on their own
to have links to the house in which they could document/share their process.
Joyce Centofanti is creating the entrance page in DreamWeaver. Lin-Lang is doing
her self-sculpture in DreamWeaver. Others are doing performances and other media
that I hope can be brought into the house since they are making self-sculptures
to place themselves in the houses.
The landscapes they make will be for walls, stained-glass windows, doors, or
other areas in which they carefully consider who the image will include/welcome
and who it will exclude/alienate with the goal to not alienate any one.
The one-minute videos they create for the house (there will be 4 or 5) are about
conceptions of reality.
I set a stack of readings the students have read so far (besides Lovejoy's
Postmodern Currents: Art & Artists in the Electronic Age) at your office
door on the floor.
I think I may wait to tell the students about the site when the pictures in the
second page appear and you add the description of the transformation of the
house to 5 rooms.
The kitchen concept in the feminist virtual house is beautiful. Did you read
Judy Chicago's reasons for her Dinner Party installation? Judy Chicago
has written 2 books on The Dinner Party, one is called, The Dinner
Party; the other is called, Embroidering Our Heritage: The Dinner Party
Needlework .
When Judy Chicagošs first created The Dinner Party (1974-79) her
objective was:
1) to teach women's history in the Western world through art to a wide and diverse audience, and
2) to ensure that women's history would be incorporated into the cultural mainstream by securing a permanent installation for the work.
In Chicago's words The Dinner Party is a symbol for:
When the Dinner Party opened on March 14, 1979 in SF, Suzanne Lacy orchestrated an international dinner party in which women around the world dined together honoring the women of their choice. It was a 24 hour celebration. Telegrams connected people, videophones were not yet available.
She wrote, "I had concluded that the general lack
of knowledge of our heritage as women was pivotal on our continued oppression .
. . Women had always made significant contributions to the development of human
civilization, but these were consistently ignored, denied, or trivialized . . .
I decided to create a work of art that could symbolize these achievements and
also represent the circumstances women had to overcome to realize their
aspirations."
It toured the world for ten years. It is a triangular table covered with white
cloths edged in gold (46.5' per side). Included in the installation were
biographies of 39 guests in a 25 cent booklet which also included the names of
all of the 1,038 women represented in the Dinner Party.
It took 400 people, five years, and $250,000 to complete the Dinner Party. 1
side represents from (17th-20th century) the American Revolution to the Women's
Revolution--From Anne Hutchinson (1591-1643) to Georgia O'Keeffe. She is the
most contemporary person at the table. Interesting that your house begins with
O'Keeffe's paintings as inspiration.
I will organize my emails as records of the process from my perspective. Here is
a URL that is a beginning of documenting the house--it is in rough form but I
just want to get a page up to describe the house for you and the class from my
perspective--it will be much differently presented by its debut on Dec. 5--see:
http://www.ken-art.ttu.edu/kkb/house.html
Karen
Schematic Design 2:
Five Equal Bedrooms
| Floor Plan Parti of Five Equal Bedrooms. |
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| The floor plan has been changed to include 5 bedrooms instead of the two bedrooms with one master bedroom.The curved spaces inside the bedrooms are to be bathrooms. The space connecting all of the bedrooms is planed to be a private group space. Maybe a large hot tub. The other spaces have not changed. |
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| Floor Plan Oblique. In this layout of the house the spaces between the walls will be filled with windows and doors wherever appropriate. |  |
| Roof Plan Oblique. |  |
| Perspective of Bedroom 01. This image is taken from the entry door of the space looking back towards the bath (curved space) and the window opening. |  |
| Perspective Bedroom 02. You are looking from the entry door towards the room's bath area and window opening. |  |
| Perspective Bedroom 03. You are looking
from the entry door towards the room's bath area and window openings. This
is the only room that has two window openings to the outside. Bedroom 04 would be a similar reversed image of 02 and Bedroom 05 is similar to 01. |
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The house has not developed much further than this as an architectural work. I stopped development of the House design to assist Karen Keifer-Boyd's graduate in installing there art and images into a series of Panoramas. The next section discusses those panoramas.
