Reclaiming Our Bodies // Undergraduate Thesis 2022 by abigailstubb

Undergraduate Design Thesis 2022

RECLAIMING OUR BODIES Designing the Control of Women’s Bodies

Abby Stubb Interior Design Thomas Jefferson University

CONT ENTS

6 10 12 14 18 20 22 24 26 28 34 46 50 66 68 71 72

PERSONAL STATEMENT INTRODUCTION HISTORY THE ORIGINS OF PATRIARCHY REPRODUCTIVE POLITICS IN THE 19TH CENTURY BIRTH CONTROL AND REPRODUCTION CIVIL WAR, CITIES, AND SEX SEX WORK AND VENERAL DISEASE RACE AND REPRODUCTION THE POSTWAR ERA THE SEXUAL REVOLUTION GEOGRAPHICAL CONTEXT IMPACT ON THE BUILT ENV CONTEMPORARY ISSUES NEW FEMINIST WAVES, GEN Z, AND SOCIAL MEDIA BODY IMAGE POLICY

CONT ENTS

8 8 9 10 1 12 12 12 13 14 14 15 16 17 17 18 19 20 23 24 25

80 82 94 06 118 22 26 28 30 44 46 54 66 72 78 80 94 05 38 44 52

PRECEDENTS LOVE IN A MIST FARCHITECTURE DESIGNING MOTHERHOOD PANTEA PARSA BATHROOM PAVILLION MY BOUDOIR COUNTER SPACE PROGRAM CONTEXT, SITE, & BUILDING WHAT IS PUBLIC SPACE THE CONTAINER SITE PHILADELPHIA SITE TEXAS TOPICAL INVESTIGATION IMMERSIVE DESIGN ERGONOMICS SCHEMATIC DESIGN CONCLUSION APPENDIX 1 APPENDIX 2

STATEMENT

In a country perceived to be the world and reproductive rights are under att their own body. The woman is often c of discourse, desire, and fascination. T installation explores the interior space of invasion, decision making, and cont the experience, knowledge, and poten

Women*- In this thesis, the term “woman” is use capable of becoming pregnant, and who identifie

MISSION

The intent is to draw people into this an immersive experience that allows u the subject matter through the built e perspectives in people’s thinking and

d's greatest democracy, women's sexual ack; women do not have control over cast in the role of the body as an object This provocative and immersive mobile es of the female body that are centers trol while creating a platform to share ntial of being a woman.

ed as an umbrella term for any person with a womb, es as femme.

challenging conversation by creating users to deeply experience and feel environment in hopes of initiating new ultimately, spark change.

THE QUE

What is feminism’s r How can we make pr

ESTION

role in architecture? rotest through design?

MIND MAPPING

Introduction These issues are nothing new. Men and women have been practicing the use of birth control and abortion tracing back to Egypt in the 12th and 13th centuries. Everytime, the government and religious groups come after them in determination to block womens sexual freedom and reproductive rights. This section walks us though the history of these issues, where these issues arise and how it translates into the built envionment.

History Civiliization- Present United States

History

The Origins of Patriarchy

Patriarchy is the “structural system of male domination” (Omvedt, 1986). This is a 4,000 year old system invented to oppress, control, and objectify women. The patriarchy is a social construct that has been invented. According to Gerda Lerner, a historian and women’s history author, who has researched the social system and patriarchy, notes that “historically, patriarchy was a form of social organization in which the father or eldest male headed a family or tribe. Today, patriarchy is an institutionalized pattern of male dominance in society” (Collins, 1986). Literature has shown that in societies with rigid gender norms, men feel emasculated and threatened when they experience a shift in gender roles.

In early human societies, “women’s average life span may have been less than 28 years, and infant mortality was 70 to 75 percent, women were bearing and nursing babies all the time in order for the tribe to survive” (Collins, 1986). This exhibits the division of labor between sexes that was accepted by both men and women. “Patriarchy developed from “3100 B.C. to 600 B.C. in the Near East due to the practice of intertribal exchanges of women for marriage. These exchanges exhibited the idea that “men had rights that women did not” (Collins, 1986). Women and children were the first prisoners and property and this “exploitation of their sexual and reproductive capacity represented the first class distinction” (Collins, 1986).

Collins, Glenn. “Patriarchy: Is It Invention or Inevitable?” The New York Times. April 28, 1986. Accessed September 02, 2021. https://www.nytimes. com/1986/04/28/style/patriarchy-is-it-invention-or-inevitable.html. Omvedt, Gail. “‘Patriarchy:’ The Analysis of Women’s Oppression.” Insurgent Sociologist 13, no. 3 (April 1986): 30–50. https://doi. org/10.1177/089692058601300305.

History

Race, class and reproduction Policy/laws

Reproductive rights in 19th century

Policy/laws

Race, class and reproduction

Policy/laws

Religion and reproduction

Race, class, and reproduction

Policy/laws

Birth Control

Policy/laws

Birth Control

Religion and reproduction

Birth Control Policy/laws

Birth Control

Policy/laws

History Reproductive Politics in the 19th Century Many decades after nationhood, abortion was legal and women could get an abortion at anytime. In the beginning of the 19th Century, most people did not believe human life was not present until a pregnant woman felt the first fetal movements, known as quickening. The decision to abort an early pregnancy was a private matter and was not considered a crime. In the 1820’s, abortifacients were hawked in store fronts and even door to door, openly advertising their willingness to end womens pregnancies. Abortion ads in plain sight in the newspapers during the 1850’s were common, such as Sir James Clarke’s Female Pills (Blakemore, 2018).

This was accepted beacuse many Americans thought about the human body as a place of equillibrium. “If something occurred to throw the body out of balance—like the stopping of a woman’s menstrual period due to pregnancy—it was seen as a problem that needed to be remedied” (Blakemore, 2018). During this time, “women thought about pregnancy in terms of a lack of something (menstruation) rather than the presence of something (a fetus)” (Peterson, 2012). To restore their menstural periods, they would use methods such as hot bricks on their stomach or readily available herbal abortificients such as pennyroyal, nigella domascena, and savin to bring on their period. Before the 1800’s abortion was legal as long as it was before quickening. It wasn’t until 1821 laws were passed against herbal abortion techinques disguised as “poison control measures.” Connecticut, a heavily Catholic state, was the first to criminalize abortion.

Drawing from a 13th-century manuscript depicting a pregnant woman in repose, while another holds some pennyroyal in one hand and prepares a concoction using a mortar and pestle with the other. Pennyroyal was historically used as an herbal abortifacient (Peterson, 2012).

People have long been experimenting with methods to prevent pregnancy. Ancient societies such as Crete and Egypt attempted to create condoms using “animal and fish bladders or intestines and linen sheaths” in 3000 BCE and around 1850 BCE Egypt experimented with a spermicide “combining crocodile dung and fermented dough” (Our Bodies Ourselves, 2021). Most contraceptive methods were made of locally available materials such as grass, seaweed, gum, lemons, honey, olive oil, paper, wool, cotton, and sea sponges.

In Greece and Rome, philosophers proposed using cedar oil, lead ointment or frankincense oil as spermicides in 384 B.C. or the empty rind of half a lemon as a cervical cap in 1725 (A Timeline of Contraception, 2021). In the 1830’s when men and women married, it was assumed that children would just follow promptly and that there was no other option. Women were encouraged to see motherhood as both destiny and duty.

Blakemore, Erin. “The Criminalization of Abortion Began as a Business Tactic.” History.com. January 22, 2018. Accessed November 16, 2021. https://www.history.com/ news/the-criminalization-of-abortion-began-as-a-business-tactic. Peterson, Anna. “From Commonplace to Controversial: The History of Abortion.” Origins. November 2012. Accessed October 25, 2021. https://origins.osu.edu/article/ commonplace-controversial-different-histories-abortion-europe-and-united-states.

The Illegalization of Abortion Began as a Business Deal

History

Things changed during the second half of the 19th century where once private matters became public. Ann Lohman, was a female nurse who terminated pregnancies as “Madame Restell.” At this time, medicine was making its way into its own profession instead of homegrown practictioners. Nurses like Lohman that specialized in abortions created competition for physicians and those who believed abortion was immoral. These physicians were suspicious of midwives and “doctors” that women relied on and wanted to destigmitize those women that had help the majority of knowledge around childbirth and pregnancy.1 In 1847, the American Medical Association was formed in attempt to “instill respect for the emerging profession of ‘real’ doctors” and seperate themselves from “quacks” such as midwives and folk healers. In 1857, they launched a campaign to make abortion at any stage in pregnancy illegal (Blakemore, 2018). 1 Blakemore, Erin. “The Criminalization of Abortion Began as a Business Tactic.” History. com. January 22, 2018. Accessed November 16, 2021. https://www.history.com/news/the-criminalization-of-abortion-began-as-a-business-tactic.

Civil War, Cities, and Sex 1865 Attitudes towards sexual morality began to change after the Civil War in 1865. Cities grew larger, attracting single men, immigrants, and drew women into the workplace creating more opportunities for pre-maritial relations. The Social Purity Movement took charge, rooted in Christian morality and abstinence in attempt to “preserve feminine virtue and purity by protecting young women and girls from prostitution, contraception, abortions” (Tyson, 2020). In other words, the goal was to delay the age at which young people first have sex. They associated contraceptives with promiscuity, prostitution, and disgust. The movement was an attack to control women’s sexual freedom and it perpetuated the idea that a woman’s purity was directly correlated to her integrity and values. Purity campaigns were launched due to the fear that the white, heterosexual family was under attack. Congress has been handing over more than $2 billion dollars to Abstinence-Only-Until-Marriage programs since 1982. Blakemore, Erin. “The Criminalization of Abortion Began as a Business Tactic.” History.com. January 22, 2018. Accessed November 16, 2021. https://www.history.com/news/the-criminalization-of-abortion-began-as-a-business-tactic.

These programs fed young people guilt and fear tactics to promote abstinence, missing crucial information about birth control and STIs. Anthony Comstock, a self-appointed moral reformer, he became a crusader for decency, working as a volunteer police informant to stop prostitution and other indecencies. In 1873, he convicted congress to pass an “anti-obsenity law” placing the US post office in charge of finding and censoring all “obcene” material such as contraception, abortion, and other sexually obsene literature from passing through the mail, printed, or distributed (5). Comstock made it illegal to educate people on safely preventing conception. This turned the mail system which was originally a symbol of democracy as if facilitated the free flow of ideas and information into a vehicle for corruption and surveillance (6). Women had to resort to underground methods, especially poor women who had no choices. In 1885, the cost of a diaphragm equalled a weeks wages for a domestic servant or factory worker (6). O’Neill, Therese. “How Birth Control Became Everybody’s Business.” The Week. January 08, 2015. Accessed November 18, 2021. https://theweek. com/articles/458698/how-birth-control-became-everybodys-business. Tyson, Khadija. “The Social Purity Movement.” Gender and Sexuality Throughout World History. December 03, 2020. Accessed September 05, 2021. https://librarypartnerspress.pressbooks.pub/gendersexuality3e/ chapter/the-social-purity-movement/.

History

Birth Control and Reproduction Before the mid-19th century, birth control was the unspoken, private concern of women and their sexual partners. The main methods were rhythm (abstaining during fertile periods) and withdrawal. Margaret Sanger was a nurse and pioneer for the women’s rights movement with a goal to make contraceptives legal and widely available to women. She attended to women who were seriously injured from self-inflicted abortions. When she was just 8 years old, she helped deliver one of her own silblings. Her mother gave birth to 11 children and died around 40 due to the physical toll of her pregnancies. It was 1912, 28 year old patient Sadie Sachs, mother of three, was found unconscious one day after trying to give herself an abortion. She knew she and her husband couldn’t affort another child. She asked the doctor for information on how to prevent this from

happening again: all he would say was to stop having sex. “He laughed good-naturedly. ‘You want to have your cake and eat it too, do you? Well, it can’t be done.’”1 Women wanted to know more than anything else: to learn the “secret” of how to avoid having children. There was not yet a “secret” birth control as there was still an enormous amount of ignorance at this time about basic biological processes. Before 1843, people didn’t know how reproduction worked. They just assumed that men were the ones that gave life and women “just provided the home for it” (A Timeline of Contraception, 2021).

After Mrs. Sachs death, Sanger set out to “seek the root cause of evil and change the destiny of mothers whose miseries were vast as the sky.”1 She traveled to Europe where she studied birth control methods which was illegal in the United States at the time. She wrote about it in a pamplet titled “Family Limitation’ where

1 Alter, Charlotte. “Planned Parenthood at 100: Birth Control Change Everything.” Time. October 14, 2016. Accessed November 05, 2021. https://time com/4527330/planned-parenthood-100-history/.

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she listed all the conventional ways a woman of that day could prevent conception. She described the devices (pessaries, sponges, condoms, douches, suppositories) and how to use them1. She was then charged for breaking the Comstock Law enacted in 1873. This law banned the distribution and information on contraception. Despite these restrictive laws, women still pursued abortions despite how dangerous and deadly they were. Sanger continued to challenge and revolt against the Comstock Law and in 1916, she opened the first birth control clinic in the Brookyln, United States. She wrote, “Can you afford to have a large family? Do you want any more children? If not, why do you have them? Do not kill, do not take life, but prevent” (Alter, 2016). This was revolutionary for the time.

“For the first time in American history, women could receive organized instruction on birth control.”1 The clinic stayed open for only nine days before it was shut down by an undercover policewoman posing as a patient. It was opened and shut down again, and Sanger was arrested for the clinic being “a public nuisance”. When Sanger appeared before the judge, he waved a cervical cap from the bench and argued that no woman should have “the right to copulate with a feeling of security that there will be no resulting conception.” She went to jail for 30 days. (Alter, 2016). Five years later, Sanger founded the American Birth Control League in 1921, known now as Planned Parenthood.

1 O’Neill, Therese. “How Birth Control Became Everybody’s Business.” The Week. January 08, 2015. Accessed November 18, 2021. https://theweek.com/articles/458698/how-birth-control-became-everybodys-business.

1 “A Timeline of Contraception.” PBS. 1996-2021. Accessed September 05, 2021. https://www.pbs.org/wgbh/americanexperience/ features/pill-timeline/.

History

Sex Work and Veneral Disease 1860’s-mid 1900’s

The increase in prostitution, veneral disease, and pornography also helped change the attitudes on sexual morality. Many working class women were also in desperate circumstances and economic necessity around the 1860’s and resorted to this kind of work unwillingly. A woman’s range of work options were severely limited to marriage, service, or seamstress work. Sex work offered many women a middle-class income and lifestyle. A sex worker could earn as muc in an hour as a seamstress could in a da

Half of all American women in the count were wealthy, upper class women who never had to work for pay. Of the half of women who worked for pay prior to marriage, the majority—two thirds—qui their jobs upon marriage (PBS, 2021). These were middle class women. The working poor and immigrants made up 1/3 or 1/6 of the female population and resorted to prostitution.

Men didn’t wanna sleep with a farm girl or an immigrant woman, they wanted to fantasize that they were sleeping with the “boss’ daughter.” The women were dressed up as upper-middle-class with really nice clothes.

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Education 1913 In 1913, Chicago public schools became the first in the country to carry through sex education programs (History of Sex Education, 2021). However, there was still very little effort made to teach women about sex education, and if they did, it was to teach purity and responsibility. In 1914, the American Social Hygiene Association (ASHA) was created in attempt to change Americans’ attitudes about sex. They did not believe in educating women about sex as it was assumed that “women had no interest in sex outside of reproduction” (History of Sex Education, 2021). In 1914, prostiution and STIs were on the rise and fear started to take over. Protection of the US troops took precedence and there became a crack down on sex wok, specifically against colored women, to keep soldiers free from disease. The government took an interest in disease prevention programs aimed at soldiers (3). The ChamberlainKahn Act was put into action in 1919, giving $4 million dollars to train teachers and teach students about STI prevention. “This represented the first-ever federally funded initiative for sex education in the United States” (History of Sex Education, 2021).

Cartoons aimed at convincing troops to resist temptation. The American Social Hygiene Association

By 1910, every state had antiabortion laws (Solinger, 4). Those that were in favor of the criminalization had a fear of the decline of birth rate among white americans. There was also a need to “protect the sanctity of motherhood and the chastity of white women,” after all, abortion supported the seperation of sexual intercourse from reproduction (Solinger, 4).

Gettelman, Elizabeth, and Mark Murrmann. "The Enemy in Your Pants." Mother Jones. May 29, 2010. Accessed October 21, 2021. https://www.motherjones.com/media/2010/05/us-military-std-posters/. “Women’s Work and Sex Work in Nineteenth-Century America.” PBS. Accessed November 18, 2021. http://www.pbs.org/mercy-street/blogs/mercy-street-revealed/womens-work-and-sex-work-in-nineteenth-century-america/.

History Race and Reproduction 1850 Throughout American history, patriarchal systems and government have treated the reproductive systems of different groups of women differently, especially exploiting the womb of women of color. During slavery, “laws governing the fertility of enslaved Africans were cucial in facilitating the origins and maintenance of the slavery system” (Solinger, 2013). 1850’s owners of African American enslaved women forced them to have as many children as possible to increase their human property. Women of color have been used as guinea pigs to further white gynecological “progress” tracing back to James Marion Sims’ and the experiments on slaves. Known as the “Father of Gynecology,” Sims conducted painful surgeries without using anesthesia to benefit his gynecological studies. These were elite white men who lived in an era of scientific racism surrounded by a vulnerable population that could be abused because of easy accessibility to their bodies (Kelly, 2019).

Burlington Free Press, January 24, 1925, University of Vermont Archives

“In that time, enslaved women were a part of the economics of plantation an if they were broken that was a financia problem” Charly Evon Simpson

a nd

The Eugenics Movement “For a period of years a number of physicians routinely sterilized poor women- often women of color- without their knowlesge and their informed consent” (Solinger, 2013). In 1907, The American Eugenics movement was created by Charles Davenport, a biologist and eugenist who tried to shape the human population unnaturally. The Eugenics movement gave the government the right to perform mass enforced sterilization, especially on blacks and immigrants. Davenport believed that “the human race would be improved if only certain people—white, middle class, AngloSaxons—reproduced” (History of Sex Education, 3). “The laws list the ‘insane,’ ‘the feeble minded,’ ‘the dependent,’ and ‘the diseased’ as incapable of regulating their own reproductive abilities without their consent” (Our Bodies Ourselves, 2021). Thousands of women were foribly abducted from their homes, put in institutions, and operated on without consent all because the state deemed them “unfit to reproduce” (Minium, 2018). These Eugenic laws were designed to regulate sex and reproduction to ensure “high quality” population, targeted certain groups “for the good of the people” (Solinger, 7). “These laws were meant to keep the races seperate and to protect the established meaning of “whiteness” in order to maintain the dominant system of racial control” (Solinger, 8). Kelley, Rich. “A Note on the Scientific & Historical Context of BEHIND THE SHEET.” Ensemble Studio Theatre. February 14, 2019. Accessed November 16, 2021. https://www.ensemblestudiotheatre.org/est-blog-1/2019/1/9/a-note-on-the-scientific-amp-historical-context-of-behind-the-sheet. Gonzales, Jocelyn. “Behind ‘Behind the Sheet’.” The World from PRX. 2019. Accessed November 16, 2021. https://theworld.org/stories/2019-01-31/ behind-behind-sheet. Solinger, Rickie. Reproductive Politics: What Everyone Needs to Know. Oxford: Oxford Univ. Press, 2013. Minium, Alice. “The Untold Story of American Eugenics.” Medium. June 05, 2018. Accessed October 21, 2021. https://medium.com/@aliceminium/ the-feebleminded-woman-a-brief-history-of-eugenics-in-1920s-america-8a198d1b6e40.

History

The PostWar Era 1945-1980

Levittown, New York

In the Dark Ages, women were Nourishers and men were providers. Men brought food home to be prepared by women. Women were tied down by children and menstruation. The man’s role as “provider” was not any more prestigious than a woman’s role as “nourisher.”1 They were both making sacrafices and worked hard to survive in the harsh world: the man faced being eaten by wolves and the woman faced dangerous, hot fires.

Identical, cookie cutter, white picket fence houses began popping up outside metropoltian areas after World War 11. There was a major demand for housing to accomodate those rerturning from war. To the generation that had survived the Great Depression and World War II, these houses were luxurious. Due to low housing cost, middle class citizens could now affort to live in the suburbs. This was a time in which the house helped promote the idea of family and helped facilitate reproduction.

However, the industrial revolution changed these views as there was no need for survival anymore. There were new opportunities for men and how to provide for the family: translating hunting into tradable labor and money.1 Women began to feel restrained by their home kitchen. Men gained new freedoms and access to the outside world that left women behind who were held back by their bodies, children, and social morals.

Married couples slept seperately in two twin beds. “There was the sense that there was something wrong about essentially advertising, even to your kids, that you might be having sex together.”1 It was inappropriate and scandalous to show a married couple sharing a bed together in the media. Even if they were shown reading, it was the very thought that they might do something different in that space that was shocking.

1 Allymatsoso. “The Shame of the Kitchen: A Short History of a Woman’s Place.” The Philosophy of Motherhood. May 11, 2019. Accessed November 23, 2021. https://philosophyofmotherhood.wordpress. com/2019/11/06/the-shame-of-the-kitchen-a-short-history-of-a-womans-place/.

1 Olito, Frank. “Then and Now: How Bedrooms Have Changed throughout the Years.” Insider, Insider, 26 June 2019, www.insider.com/bedroom-design-through-the-years-2019-6#in-the-40s-and-50s-somecouples-opted-to-sleep-in-separate-twin-beds-next-to-each-other-6.

History

American society in the 1950’s was centered around the family. Marriage and chlildren were expected in this national agenda. Women were deemed caregivers, mothers, and wives. Women were submissive and docile, and must be attractive at all times, but make it all seem effortless.

Standards were imposed by domestic manuals, women’s magazines and a burgeoning advertising industry, and enforced by friends, neighbours and husbands. The book, The Art of Being a Well-Dressed Wife, published in 1959, states, "remember it's your husband for whom you're dressing."

History

In the 1940s and 50’s Family Life Education (FLE) programs in schools also started to come into play with the intention to “prepare for marriage” and discourage premarital sex.

The organization suggested that sex was something that needed to be “controlled” and that masterbation, divorce, alack of self-control were problems and something that needed to be fixed or tamed.

History

The Sexual Revolution 1960, The United States

36 Lee Balterman, 1968-08, LIFE Photo Collection

The Sexual Revolution marked a change in perspective towards sexuality. Consumerist attitudes led to the deviation from the status quo. The youth began to engage in sexual activities, deviating from the status quo of consermurist attitudes. They began to preach a doctrine of “make love not war” (Google Arts & Culture, 2021). During this Sexual Revolution, women were realizing that they too, just like men, enjoyed sex and had sexual needs. This idea, radical for the time, believed that women “had the same sexual desires and should have the same sexual freedoms as everyone else in society. For feminists, the sexual revolution was about female sexual empowerment” (PBS, 1996). However, for conservatives, the foundation of American society, the family, was at risk. The approval of the pill by the FDA in 1960 had given women control of their own fertility in ways that there had never been before. This changed the perception of premarital sex. “They could for the first time deter pregnancy by their own choice” (The Fight for Reproductive Rights, 2021). Unwanted pregnancy was no longer a

problem. Sexuality became a means of achieving individual satisfaction and self-expression. Many argued that the pill caused the sexual revolution as it allowed women to separate sex from reproduction and unwanted pregnancy was no longer a problem. Conservatives put the blame on oral contraception for the changes in American values. This new wave of feminism fought for women’s liberation in workplaces, family, sexuality and reproductive rights. These societal changes went from an emphasis on virginity and marriage to “a celebration of single life and sexual exploration. It was 1964 and Betty Friedan published The Feminine Mystique, giving a new voice middleclass housewives, starting a new feminist movement. Although the pill was only prescribed to married women, it was still a symbol of new sexuality and freedom. Women at the time felt they had no sense of self because they were only someone’s wife and some children’s mother. Friedan associated suburbia as “comfortable concentration camps.”

History

ROE v

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There were geat strides for the goverment and pro-life movement to try and restrict contraception and abortion. In 1965, Estelle Griswold was arrested for selling contraception in Connecticut. This resulted in Griswold vs Connecticut, a landmark Supreme Court case that legalized the sale of the pill to married couples without government restriction. The IUD was introduced in 1967 and became another form of contraception which leveraged feminist groups and female empowement. However, the road block of the Pro-Life movement has always been the Supreme Court. There had been other cases across

the country trying to challenge local abortion laws, however, Roe versus Wade was the first to make it to the Supreme Court. In 1971, the Supreme Court agrees to hear the case of Norma McCorvey (“Jane Roe”) against Henry Wade, the Dallas District Attorney who enforced a Texas law banning abortion except in cases of life endangerment. At the time, abortion was not a partisan issue: it was a medical problem, a social problem. In the year before Roe v. Wade is decided, an estimated 130,000 women have illegal or self-induced abortions. Over 100,000 women

v WADE

travelled to New York City for an abortion, 50,000 of them traveling more than 500 miles.1 They filed a class action to say that this is a case for all women. Roe v Wade was argued to nine middle aged men. A 7-2 decision leagalized abortion nationwide. This decision made abortion a private matter and ordered the states to make no laws forbidding it. It’s only in the third trimester where the state has the right to prohibit abortion. It was now a constitutional right. When Roe went 1 Gold, Rachel Benson. “Lessons from Before Roe: Will Past Be Prologue?” Guttmacher Institute. September 14, 2018. Accessed December 14, 2021. https://www.guttmacher.org/gpr/2003/03/lessons-roe-will-past-beprologue.

through, it was a shock to everyoneto go so far over the other side, to put everything in the woman’s hand, and dissmantle all previous laws. Before Roe v. Wade, the woman was an outlaw: she was moving around, trying to get some procedure that was against the law. No one really stopped her. But when the court said “you have the right to make this decision, you have the right to define your own life, not religion, that was unacceptable.1

1 Stern, Ricki, and Anne Sundberg. 2018. Reversing Roe. United States: Netflix.

History

However, was womens sexual liberation contributing to patriarchal oppression? “Patriarchal society was able to warp sexual freedom for women into sexual accessibility for men” (Klein, Gibbs, 2020).

Klein, Gavi, and Audrey Gibbs. "Tools of the Patriarchy: The Weaponization of Sexual Freedom." Ms. Magazine. August 13, 2020. Accessed October 11, 2021. https:// msmagazine.com/2020/08/12/tools-of-the-patriarchy-the-weaponization-of-sexual-freedom/.

History

Objectification and the Porn Industry 1960, 1970 United States

The change in fashion due to the influx of European fashion and an increase in promiscuity added to the portrayal of women to become more sexual. Miniskirts, long hair and a rejection of the bra was characteristic of the era. Objectification of women during this time was more prominent. The film industry capitalized on the changing times through pornography. A new magazine called Playboy promoted the idea of single life and bachelorhood through the objectification of women (The Pill and the Sexual Revolution, 2021). The first playboy magazine was published in December 1953, showcasing Marilyn Monroe. The first debut notes, ‘If you’re somebody’s sister, wife or motherin-law and picked us up by mistake, please pass us along to the man in your life and get back to your Ladies Home Companion.’ The magazine sold out completely its first publication. The market didn’t have anything like it at the time. They called it “Entertainment for Men.” "The Sexual Revolution of the 1960s - Google Arts & Culture." Google. Accessed October 13, 2021. https://artsandculture.google.com/usergallery/the-sexual-revolution-of-the-1960s/HwIS5sVpRrcGLA.

History

First Ever Copy of Playboy Magazine Featuring Marylin Monroe, 1973, Daily Mail

Pornography, Arthur Schatz, 1970-08, LIFE Photo Collection

Does geographical context in relation to abortion and reproducive rights and health matter? Health care and reproductive rights for women in many developing countries are either non-existant or very limited whereas some of the most liberal laws are in the more developed and richer countries. Abortion laws within different countries are split into five categories. In 26 countries, abortion is completely prohibited. These countries are mainly in Africa, while also including Latin America, the Caribbean, and Iraq (Crossette, 2019). “39 countries allow abortion to save a mother’s life, 56 governments permit abortion for health reasons, and 14 countries cite broad social or economic grounds for legal abortions”. Lastly, 67 nations permit abortion on demand, within varying gestational limit (Crossette, 2019).

Geographical Context 2000 - Present

Geographical Context

Democratic Republic of Congo Women in the DR of Congo endure some of the most brutal and volatile conditions. Women are often subjected to systematic, gender-based violence as a form of warfare. Many experience female genital cutting—a process in which the external female genitalia is removed (usually against their will). In Afghanistan, women were stripped of their rights by the Taliban government between 1996 and 2001, gender-based violence is rampant, more than 80% of women are illiterate, and many die in childbirth.

Saudi Arabia In Saudi Arabia, the male guardianship system allows for a man to control a Saudi woman’s life from birth until her death. This makes women unable to make critical, let alone any, decisions for herself and the government has done very little to end the system. This system disempowers and treats women as permanent minors and grants male relatives major power and control over women which often leads to domestic violence. Women are also segregated from men in public areas

Yemen Yemen is one of the worst places in the world for women. Women must suffer from deeply entrenched gender inequality. Forced niqab, child marriage, divorce shame, domestic violence and honor killings. Women are not able to marry or receive health care without the agency of their male guardian. In addition to caring for her husband, a woman is expected to physically appeal to her husband

Iceland Iceland is ranked the best place to be a woman. They raisie their girls to use their voice, be in physical strength, and train them in courage.” In 1975, Icelandic women were fed up. 90% of Iceland’s female population who went on all-out professional and domestic strike. Teachers, nurses, office workers, housewives put down tools and didn’t go to work.

What is Gender? When you think about the history of built space it is prodominently centered around the male. The built environment has been designed for the healthy, tall, capable white male. This thesis will investigate how space provokes these ideas of gender roles. Before talking about how spaces are gendered. We must understand what gender is. We need to understand the internal structure of how we got to where we are today before analyzing its effect on built space. Physical sex is the biological, genetic, and evolutionary nature, female and male such as hormones (estrogen and testosterone) and x and y chromosomes. Gender expression are the societal roles and expectations for how men and women ought to act. Contemporary US culture assigns human characteristics that are deemed “feminine” or “masculine.” For example, giving great consideration and care to your appearance is considered a feminine trait. There remains much debate about where to draw the line between what aspects of people's gender are the result of biology (physical sex) and which aspects are cultural (gender expression) (Danielson, 2021). Like Cheryl Buckley states, “the practice of defining women’s design skills in terms of their biology is reinforced by socially constructed notions of masculine and feminine, which assign different characteristics to male and female” (Buckley, 1986).

Buckley, Cheryl. “Made in Patriarchy: Toward a Feminist Analysis of Women and Design.” Design Issues 3, no. 2 (1986): 3–14. https://doi.org/10.2307/1511480. Danielson, Stentor. “Gender and Sexuality.” Overview of Human Geography: Gender and Sexuality. Accessed September 06, 2021. http://debitage.net/humangeography/gender.html.

Impact on the Built Environment

History of Gender Roles 4500 - 1900 BC

The start of gender roles can be seen tracing back to the ____ and agriculture. The required upper body strength and intense labor to maneuver the plow gave men an advantage, so the men worked in the fields while the women channeled their efforts in the home….. Gave rise to a culture which codified women’s place as being in the home and contributed to gender norms. Looking back at the Sumerians from 4500 - 1900 BC - the earliest known civilization in Mesopotamia in the Middle East - to give a better understanding of how these gender roles came into play and where they started to originate from. The Sumerians advanced society through improvements and discoveries such as the first irrigation/agricultural system, math, the first calendar, the plow, and writing in 3300 BC. Women had the same privileges as men in society. Rendell, Jane, Barbara Penner, and Iain Borden. Gender Space Architecture. London: Routledge, 2000.

Women brought their own property when entering a marriage, they could study the writing just as much as men and women had power and could represent themselves. There was no evidence of gender inequality in early civilization. That is until Akkadian King Sargon conquered the Sumerians in 2300 BC and the world for women changed. They lost the freedoms they once enjoyed. “Participation in the economy was restricted, shut out from education and their professions. Women became excluded from power and public space” (The Ascent of Woman - Is Gender Inequality Man-made, 2021). This hierarchy of men and women further took shape through Agricultural surplus which brought with it class, status, and an unequal distribution of wealth. Once civilizations began writing out their laws, that is when the patriarchy became promoted. Women lost sexual freedom in 1754 BC when the Code of Hammurabi was established where “husbands and fathers would be able to own the sexual reproduction of their wives and daughters. Virginity was now a condition for marriage” (The Ascent of Woman - Is Gender Inequality Man-made, 2021).

Impact on the Built Environment

Gendered Spaces Gendered spaces are areas within space that are deemed welcome and acceptable for certain genders. Feeling like some places were not yours, that you didn’t belong. The gendering of spaces helps to reinforce a culture’s gender norms. One form of gendered spaces is through the public-private divide. In traditional Western culture,

the public-private divide associates private space to women and public space to men. Urban planning and design for the past century has been based on the idea that a woman’s place is in the home. This has led to infrastructure that is unfit for working women (CITE). The urban region was meant to seperate home and work. ‘Separate spheres’, an oppositional and an hierarchical system consisting of a dominant public male realm of production (the city) and a subordinate private female one of reproduction (the home) (Rendell, 2000). Women occupy the private sectors while men occupy the public. This divide may be reinforced in various ways, from explicit legal barriers (such as the laws in some Islamic societies requiring women to wear concealing garments so that their presence doesn’t create a distraction in male public space) (Danielson, 2021).

In the 1950’s when the suburbs thrived, the cities suffured. Chicago built expressways that linked the suburbs with the center of the city. The station wagon became a symbol of postwar suburban life. Fathers commuted long distances every day, mainly to jobs in downtown Chicago. The private suburban dwelling: white male workers would come home to a calm, private environment away from the world of work.

“He would enter a serene dwelling whose physical and emotional maintenance would be the duty of his wife” (Hayden, 172). "Good homes make contented workers" was the slogan of the Industrial Housing Associates in 1919. These consultants and many others helped major corporations plan better housing for white male skilled workers and their families, in order to eliminate industrial conflict” (Hayden, 172).

https://americanhistory.si.edu/america-on-the-move/city-and-suburb Hayden, Dolores. “What Would a Non-Sexist City Be Like? Speculations on Housing, Urban Design, and Human Work.” Signs 5, no. 3 (1980): S170-187. Accessed September 7, 2021. http://www.jstor.org/stable/3173814.

DOMESTIC TYPOLOGIES- PREHISTORY-1900S KITCHEN

1700’s, Brookyln Kitchen, Hearth and open fire, for servants or low class women

CLINIC

1800’s- James Marion Sims’ experiments on slaves to further gynecological “progress”

1869, Catherine and Harrriett Beecher

(2) 19th century childbirtth. Almost all babies were born at home duriing this time

1874, Victorial Kitchen, Invention of the Stove

(7) 1916- Margaret Sanger inside the Brownsville, Brooklyn clinic.

1911 Victorian Kitchen, The New York Public Library

(7) 1916- Women and men sitting outside of the Brownsville clinic, the first womens clinic opened by Margaret Sanger in Brooklyn, New York

BEDROOM

(6) The Boudoir was a woman's private sitting room or salon in 18th century France

THE BODY

Venus of Willendorf

100 BC- Venus de Milo, represents Greece’s goddess, Aphrodite, of sexual love and beauty

1920’s- economic boom inspired people to start creating luxurious bedrooms that were lavish and attractive for the first time ever

1950’s- Married couples slept in two seperate beds- wrong to advertise that you might be having sex together

1635- The Three Graces by Peter Paul Rubens, depicted women with curvy, full bodies

1902- The Corset, worn to hold and train the torso into a desired shape, emphasizes curves

DOMESTIC TYPOLOGIES- PREHISTORY-1900S

(3) 1926, The Frankfurt Kitchen

(5) An ideal 1930’s “fitted kitchen”integrating state of the art appliances into the cabinetry

(5) 1940 Armstrong advertisement for linoleum. Feminine and multi-tasking kitchen, matching appliances, cabinetry and a home office for the woman of the house

Contemporary kitchens present day

Hospitals were places of last resort sught only from the poor or desperate- greater risk of infection

Contemporary women’s clinic present day

1920- The flapper dress and slender body

Contemporary bedroom

1954- Marylin Monroe became Americas largest sex symbol

1989- Supermodel Naomi Campbell, slender supermodels became the idealized image of beauty

2017- Kim Kardashian

Impact on the Built Environment

The Kitchen and the Home What is domesticity? What does it mean to be domestic? How does this word associate with gender and space? What are traditionally “feminine” spaces deemed for women? The war was over and troops who were returning home were excited to enjoy the wave of prosperity and comfort of the new homes they were missing. Millions of homes were being built in newly developed suburbs, and at the center of all these homes was the kitchen. The modern kitchen was one of the most indentifying characteristics of middle class American life.

The Origins of the Kitchen Food preparation and the kitchen goes hand in hand with mankind and the discovery of fire. From the beginning of history to about 3500 BC, the kitchen was the immediate surrounding and gathering around the open fire. In the Paleolithic era, the transition from the informal bonfire to the settled and situated hearth, brought the fire into the home. This was a dangerous for women and servants whose clothing would sometimes catch on fire. The fireplace was the main source of heat and centered around the kitchen. This was the first step in establishing the function of the home (Charytonowicz, 350). Antiquity (from 3500 BC to 5th century) “initiated the division and zoning of the homestead, in which the location of kitchen area was conditioned mainly by the social status of the householder” (Charytonowicz, 350). During this time, the kitchen was in isolation as a service-oriented backroom for lower class women or servants. It wasn’t until Frank Lloyd Wright’s then-revolutionary open plan home designs that the kitchen began to emerge from the back-room into the center of domestic life. Charytonowicz J., Latala D. (2011) Evolution of Domestic Kitchen. In: Stephanidis C. (eds) Universal Access in Human-Computer Interaction. Context Diversity. UAHCI 2011, vol 6767. Springer, Berlin, Heidelberg. https://doi.org/10.1007/978-3-642-21666-4_38

Impact on the Built Environment

The Brooklyn Kitchen 1700’s In the early 1700’s, homes had no real kitchen like we know today. Food was cooked on an open fire and containers of water were stored in nearby hutches. This space was occupied by servants and low class women. This was a dangerous space; many womens’ dresses caught on fire

1869 book, The American Woman’s Home- subjects known in the 19th century as “domestic economy,” which included cooking, care of children, and all things related to the home. The book shows an exterior view of a small cottage, typical of the time. But inside the cottage we find detailed treatments for areas often ignored by male designers of the nineteenth century, particularly the kitchen.

The Victorian Kitchen 1911

Catherine Beecher and Harriet Beecher Early 1800’s Two sisters, Catherine Beecher and Harriet Beecher Stow were known as “domestic experts” and advocated for design to incorporate the needs of women in the house 1800’s. This was the first kitchen experimenting with order. They advocated for the abolishment of slavery and looked at ways to minimizes the use of servants in the kitchen. They realized the kitchen might look different without slaves.

The early 1900’s started introducing ergonomics into the kitchen. New additions to the kitchen during this time such as stoves, kitchen sinks with hand-operated pumps, and hot water heaters were thanks to the Industrial boom. The Oberlin Stove, a cast-iron cooking stove that could burn coal or wood, was patented in 1834.

Victorian Kitchen 1911, The New York Public Library

leisure. The kitchen was a social place of gathering. The “open plan” layout was taken in. The 1950’s kitchen was larger and booming with color than other eras, using materials such as fiberglass, stainless steel and aluminum. New appliances made everyday life more convenient and, thanks to massproduction, more affordable.

The Frankfort Kitchen 1926 Margarete Schütte-Lihotzky designed the first ergonomic kitchen that was designed to cut the time devoted to household chores, making kitchens (and women) more efficient. For the average home, which had at least one servant, the kitchen was outfitted in the plainest way possible, because it was utilitarian: a place that consisted of “the help.” The kitchen was no longer freestanding pieces, but a unit.

An ideal 1930’s “fitted kitchen”integrating state of the art appliances into the cabinetry

(1) Plan of the Frankfurt Kitchen illustrating its “labor saving features”

1940 Armstrong advertisement for linoleum, courtesy of Mid Century Home Style. This feminine and multi-tasking kitchen featured matching appliances, cabinetry and a home office for the woman of the house

The Modern Kitchen 1940-60 This is the decade when the kitchen became the “heart of the home.” After World War II, the economy and advancement in technology were booming: this allowed new materials for homes. This time was centered around relaxation and

1958- Recipes for Your New Kitchen

Impact on the Built Environment

The Clinic and Women’s Health

A drawing of a hysterical woman, from a book by the French physician Paul Regnard, 1884

Medicine has always been largely dominated by men. Throughout the eras, there has been a culture of mystification around women healh. “Women were child-bearers, first and foremost, so their health care needs pivoted around their reproductive functions.” A woman’s purpose was to procreate; if she wasn’t well, it was probably her womb that was to blame. In Egypt it was thought that an illnesses resulted from the conditions of the womb. Roman writer described the uterus as “an animal within an animal.” The Greek word for womb is hysteria. Most female afflictions were related to the theory that “out-of-work wombs made women mad and sad.” This notion evolved into the belief that it was natural for women to be fulfilled solely by being wives and mothers. The standard cure for women was marriage and motherhood.

1847, the Scottish physician James Young Simpson argued in favor of anesthesia during labor and delivery, contradicting the ageold belief that the pain of birth was part of God’s judgment. With Hippocratic medicine meshing with the lens of Christianity, people were taught that womens anatomy was a source of shame. “Women remained in ignorance of their own bodies, unable to identify or articulate their symptoms and therefore powerless.”1 Menstruation and menopause are still seen as an illness rather than aspects of health.

1 Nimura, Janice P. “Why ‘Unwell Women’ Have Gone Misdiagnosed for Centuries.” The New York Times. June 08, 2021. Accessed December 13, 2021. https://www.nytimes. com/2021/06/08/books/review/unwell-women-elinor-cleghorn. html.

Midwifery The 12th and 13th centuries were a time that was capable of great cruelty, nursing appealed to women’s piety and compassion as well as to their striving for some measure of independence1. Women skilled in healthcare were called female herbalists or “wise women.” If, over the centuries, the practice of general medicine and surgery was one shared by men and women, childbirth and its management were almost the exclusive province of women. Men believed their dignity and self-esteem were diminished by the manual nature of care for the pregnant patient; for them, medicine was an intellectual exercise.1 Midwives generally came from lowerclass families. Most were illiterate. Without formal training, they learned their skills from helping family or friends or from their own birthiing experience. It wasn’t until 1540 was the first instructional manual for midwives published in England 1 Minkowsli, William L. “Women Healers of the Middle Ages: Selected Aspects of Their History.” February 1992. Accessed December 13, 2021. https://ajph.aphapublications.org/doi/pdf/10.2105/AJPH.82.2.288.

In the 1830’s, almost all babies were born at home. Although midwives were not established, many women who were experienced, practiced midwifery as they had borne several children. Childbirth during this time was very high risk and dangerous for the woman. No antiseptics, a high risk of infection, prolonged birth, and excessive bleeding were the top concerns. Hospitals were places of last resort - sought only from the poor or desperate (Anderson, 1970). Because many women were expected to have around five to eight children, women approached each birth in fear and in preparation for death.

Impact on the Built Environment

In 1916, Margaret Sanger opened the first birth control clinic in the United States, known as Planned Parenthood today. “For the first time in American history, women can receive organized instruction on birth control” (A Timeline of Contraception, 2021).

Women’s Hospitals The received medical wisdom of the age was that assertive, ambitious women were unnatural, and therefore sick. In the 1950’s when biological gender roles were firm in place, it was declared that any woman who rejected her submissive, domestic role was medically impaired.1 Women who read or had minds of their own meant they were morally insane. According to James Cowles Prichard in 1835, “they were to be locked away until they conformed to more natural, feminine behavior.”1 Many of these women were put in insane asylums, which only their husbands could remove them. One woman, guilty of “extreme jealousy,” could have up to a 16-year incarceration. Some women were put in there for reading novels. “A woman’s menstrual cycle alone could see her committed, suffering from “uterine derangement.”1 Surgery, The theory ran that a woman’s sexual organs caused her madness, so cutting off her clitoris would calm her. Other surgeries included “the removal of the ovaries, the injection of ice water inside intimate orifices, and the application of leeches and caustics to the genitals.”1

1 Moore, Kate. “The American History of Silencing Women Through Psychiatry.” Time. June 22, 2021. Accessed December 14, 2021. https://time.com/6074783/psychiatry-history-women-mental-health/.

1970 Clinic in New York Thousands of out‐of state women came to New York in desperation to take advantage the state’s liberalized abortion law, something that was unavailable in their home towns. Clinic did over 100 abortions every day for thirteen months until other clinics had formed. This was the first radical step for abortion.

The Womens Health Center provided a wide range of information, education, and referral for women, as well as some clinical services. The avail- ability of new contraceptives in the early 1960s, as well as the 1973 Supreme Court decision legalizing abortion, led to the development of women’s health centers focusing on the reproductive aspects of health care. Planned Parenthood- nonprofit organization that delivers about onefifth of the nation’s family planning services. Planned Parenthood had been devoted to women’s reproductive health. However, when Roe v Wade was passed, the local chapters had to ask themselves if they were going to provide abortion services now that they were legal. Ultimately, they decided it was the right thing to do. Target the fee-for-service or third-part payor, middle-income woman.

2010-2021

Contempora Issues

ary

Contemporary Issues

New Feminist Waves, Gen Z, and Social Media

The United States has never been more divided. The presidency of Donald Trump and the eruption of the global pandemic, Covid-19 in 2020 and 2021 has caused a re-awakening in the lives of many Americans. Members of Gen Z are more racially and ethnically diverse than any previous generation.1 This new feminism has stemmed from Gen Z and the social and political changes they have grown up into. Born after 1996, most members of this generation are not yet old enough to vote, but as the oldest among them turned 23 in 2020, roughly 24 million will have the opportunity.1 As more and more of them come to voting age, their more progressive contribution will change the political game. This has caused a mass marked shift including liberal and inclusive attitudes on race, sexuality, ethnicty, and gender. Through the rise of Black Lives Matter protests, climate change rallies, and LGBTQ pride parades, Gen Z are fighting for equality, justice, and change around the normalized systems that we have grown up in. Gen Z is the only generation that

believes the government should do more to solve problems instead of leaving it to businesses and inidividuals like previous generations i.e. millennials, baby boomers, and boomers. Today, young women, or young feminists, are the most educated of any previous wave.1 The great majority of young women today expect to work. Also, women’s roles have diversified more than men’s. Women are exceeding in the workplace, medical field, and in politics. This new era and generation is also questioning family forms, femininity and masculinity: the meaning of masculinity—what it means to be, behave and look like a man. So what has changed? Social media has reshaped feminism. Gen Z is the first generation to be completely raised inito a digital era and experience a completely different world than previous generations. Social media and technology allows for people to be interconnected globally with a diverse range of people, giving people a platform to share their stories.

1 Parker, Kim, and Ruth Igielnik. “What We Know About Gen Z So Far.” Pew Research Center’s Social & Demographic Trends Project. July 14, 2021. Accessed December 10, 2021. https://www.pewresearch.org/ social-trends/2020/05/14/on-the-cusp-of-adulthood-and-facing-anuncertain-future-what-we-know-about-gen-z-so-far-2/.

1 MOLYNEUX, MAXINE, and ADRIJA DEY. “New Feminist Activism, Waves, and Generations.” UN Women. 2021. Accessed December 10, 2021. https://www.unwomen.org/sites/default/files/Headquarters/Attachments/ Sections/Library/Publications/2021/Discussion-paper-New-feminist-activism-waves-and-generations-en.pdf.

Contemporary Issues

Body Image Women’s bodies have always acted as trends; constantly going in and out of style. Beauty standards change each era, and women are expected to keep up. Social media makes this a time when the visual begins to take prominence over the real. We are always visible and therefore, always “seen.” The male gaze sees the female body as something for the heterosexual male (or patriarchal society as a whole) to watch, conquer, and possess. It reserves, represents, and reduces women as sexual objects for a man’s viewing pleasure. Profiting off the male gaze through platforms such as OnlyFans Social media are shaping our cooncept of beauty. Women have modified their entire bodies and faces with cossmetic surgeries, fillers, and injections.

Porn Culture and Rape Culture The normalization of pornogaphy fuels rape culture, specifically towards women. Rape culture “blames the victims of sexual assault” and “normalizes male sexual violence.”1 Some studies have shown nearly 90% of pornography depicts violence.2 The rise of violent porn show women being manhandled and enjoying or taking pleasure or neutrality in response to the aggression. Frequent porn consumption and intake of this content perpetuates the idea that this is what women want. This is dangerous as it desensitizes voiolence and insinuates sexual assult. It also contributes to the objectification of female bodies: treating a person as an object or a thing. The age at which males are first exposed to porn shapes their sexual behavior and tendency to seek power over women. Their bodies and minds are in key developmental stages, kids are viewing images that portray woman as objects to be used in whatever way a male desires. What if porn was teaching respect, consent, and healthy sexual expectations? 1 Jacob Phillips • Joseph Phillips. “How the Normalization of Pornography Fuels the Rape Culture.” The Gospel Coalition. November 26, 2014. Accessed December 15, 2021. https://www.thegospelcoalition.org/article/how-the-normalization-of-pornography-fuels-the-rape-culture/. 2 Dimitri B September 26th. “How Pornography Impacts Violence Against Women and Child Sex Abuse.” Focus for Health. July 08, 2020. Accessed December 15, 2021. https://www.focusforhealth.org/how-pornography-impacts-violence-against-women-and-childsex-abuse/.

Contemporary Issues

Women in the Position of Storyteller In this new era, women are rebelling and these topics are being brought to light through more mediums. We are seeing a shift of inclusivitiy and powerful female artists from film to singers, actors. Women are making waves in society because they are taking the position of the storyteller.

Music Sex positivity in music is at an all time high. In 2020, singer and songwriters, Cardi B and Megan Thee Stallion’s Summer hit WAP entered Billboard’s Hot 100 at No. 1. Their unapologetically “raunchy” lyrics and “sexual tone” have led many to question if this is sexist imagery or women’s empowerment? It’s a rare demonstration of sex positivity and sexual pride through a feminine lens. Traditionally, men/boys are expected to be sexually active, dominant, and the initiator of (hetero)sexual activity, whereas women/girls are expected to be sexually reactive, submissive, and passive. Artists such as Doja Cat, Cardi B, Megan Thee Stallion, and Lizzo empower female sexuality in their music, resisting the taboos that surround sex and female pleasure. Women have spent too long hiding their sexual desires, but they have them too. These artists celebrate sexuality. Maybe we should be asking why lyrics that center around female pleasure and so openly embrace sexuality, makes us upset.

Film The 2021 debut of the film “Promising Young Woman” is the most innovative feminist films in years. It follows a woman who tracks down men who equate inchoherence with consent, feuled by anger after her best friends rape. The film unravels the idea of “not all men,” which argues that not all men are bad, sexist, or rapists. However, the film creates a world in which it is all men — a world where every single man carries the capacity to do harm and enact evil- there is an absence of good men. This is one of the films that derived fom the #MeToo Movement and the many women that go invisible and unheard. Released in 2019, the film Booksmart, directed by Olivia Wilde, is a realistic coming of age film that centers around two best friends that take on high school. It’s rare to see two young women as the lead in a film, especially that doesn’t revolve around a man.

Contemporary Issues

When you’re a star, they let you do it. Grab ‘em by the pussy. You can do anything. Donald Trump New York Times, 2016

Contemporary Issues

Policy Each year leading up to today, anti abortion legislations soared in states. 2021 is looking to be the most hostile in history for reproductive rights

Texas Abortion Ban The Supreme Court signed the strictest abortion law, the Senate Bill 8 which restrcts abortion as soon as cardiac activity is detectable. The law limits abortion after 6 weeks of pregnancy, which is well before many women even know their pregnant. The law forced many clinics to close and allowed citizans to sue anyone who helps a woman get an abortion with a $10,000 bounty. The law makes no exceptions for cases involving rape or incest. Texas also forced 37 of Texas’ 42 abortion clinics to close.

"Clinics in Jeopardy." The New York Times. June 26, 2013. Accessed December 15, 2021. https://archive.nytimes.com/www.nytimes.com/interactive/2013/06/26/us/politics/clinics-in-jeopardy.html.

Overturning Roe v Wade

Roe v Wade has always been under attack. In the beginning of December 2021, the Supreme Court heard oral arguments in the consideration of reversing Roe v. Wade, the most dangerorus threat to abortion rights in the United States. Roe v Wade was the landmark 1973 Supreme Court decision that marked abortion as a constitutional right. Today’s Supreme Court includes six justices that are extremely conservative and have records opposing abortion rights. Many believe that abortion “needs to be given back to the states.” 1If Roe v Wade is overturned, 21 states are certain to attempt a ban on abortion. 12 states have trrigger laws which will automatically make abortion illegal if Roe is overturned. A decision most likely won’t be made until mid-2022.

1 Totenberg, Nina. “Supreme Court Considers Whether to Reverse Roe v. Wade.” NPR. December 01, 2021. Accessed December 15, 2021. https://www.npr.org/2021/12/01/1056950304/supreme-court-abortion-roe-v-wade-historic-arguments.

Precedents/ Case Studies

Precedents

LOVE IN A MIST THE POLITICS O FERTILITY Cambridge, Massachusetts, U Malkit Shoshan

Exhibition, Love in a Mist: The Politics of Fertility, located at the Harvard Graduate School of Design, was curated and designed by Malkit Shoshan and revolves around the relationship and control of women and nature. The show dissects the spaces of fertility such as “abortion clinics, artificial wombs, court rooms, farmed landscapes, and swamps, as extrapolated from diverse accounts and imaginaries by scholars, activists, legislators, ecologists, biologists, artists, and designers” (Love in a Mist, 2021). The topic derived from early 17th century healers, witches, and witch hunts. During this time, women regulated their own fertility and independence using

nature and plants, were allowed to stu that were female and midwives riske alleviate the suffe patients. Women healing arts had be hunts throughout E Lippke, 2019). Th Mist, derives from damascena, which and black seeds w their medicinal att liver, and brain. In seed was used to to carry out aborti 2021). Women’s f can be traced back

T: OF

, however, no women udy medicine. Those healers, herbalists, ed their lives to help ering of their female dedicated to the een targeted by witch Europe (Codringtonhe title, Love in a m the flower Nigella had a purple flower which were known for tributes to the heart, n ancient times, the control fertility and ions (Love in a Mist, fertility and struggle k to the natural world.

The show, which ran from October 28, 2019 to December 20, 2019, was located in the Druker Design Gallery. The space is dark with minimal daylight and windows, red brick flooring with white gallery walls, and exposed, centralized, concrete columns. The exhibit centers around a series of greenhouses that rest in between each column. Malkit notes that they bring forward this tension between care and control. The greenhouse is “an intimate space to practice care and reconnect with nature in a soft way” but at the same time where we detach these seeds from their natural environment. Some of the greenhouses are exposed and some are covered in dark mesh textile. Each greenhouse covers a different theme and users progress through each until they reach the end: reproductive rights, accelerated growth, extinction, and compost. Each theme brings together several artworks that form a connection between space and the issue. Malkit mentions how they “all cover different narratives and form ‘snapshots.’”

Precedents

1. Reproductive Rights The first greenhouse focuses on the history of reproductive rights and abortion. Since the beginning, women and nature have had a direct relationship with each other. Womens’ intimate knowledge of plants and herbs helped regulate fertility and allowed them to “function with some measure of independence in respect to reproduction” (Love in A Mist, 2019). However, this all started to change as women’s control over their own bodies diminished; women have been punished, criminalized, and burned through the control of government legislators and church led groups. Shoshans drive began with the threats to Roe v. Wade, the heartbeat bills that would ban abortions once a fetal heartbeat was detected, and the “domestic gag rule” on Title X. This greenhouse is stacked with infographics, pamphlets, newspapers, and visuals. Women on Waves’ by Rebecca Gomperts is a mobile abortion clinic which provides access to safe abortions to countries where it is outlawed by boat.

Women on Web is its sister organization by artist, Joep van Lieshout, that flies drones with abortion pills to women in different countries (CodringtonLippke, 2019). Suspended from the greenhouse is a model drone. Diana Whitten’s 2014 documentary film, Vessel, followed Gompert and The Women on Waves organization on their journey. The screen rests at the bottom of a white container at the end of the greenhouse. The users are invited to listen through headphones. Lori Brown’s Don’t Mess with Texas dissected the states anti abortion laws through essay and maps while the Foundation for Achieving Seamless Territory (FAST) provided handouts containing current news, archival material, legislation, and diagrams on violence against abortion clinics, ancient abortifacient potions, and access to safe abortions in the United States (Love in a Mist, 2021).

Precedents

Bodies of Steroids, FAST

2. Accelerated Growth Visitors then enter the Accelerate Growth greenhouse which is partly covered with yellow and green lighting and contains supersized, blow up animals and vegetables. This inflatable installation, Bodies of Steroids, by FAST illustrates how we are contaminating our food with chemicals, fertilizers and this has its consequences. This is the first to see when entering the exhibit. Shoshan notes that this is the center of the exhibition “where all the parts are coming together in a visual way.” This theme looks into synthetic hormones in the 20th century, such as Diethylstilbestrol (DES), which affected both the female body and the natural world. “It was used as a growth hormone to improve the ratio of feed to desired weight in livestock. During and after the world wars, hormones and fertilizers were being developed to increase reproduction of resources and accelerate growth in the natural world” (Reproductive Rights, 2021). DES helped women to induce contractions and prevent misscarriage, however, it was proved harmful to the women who took it. In 1971, the FDA noted doctors that DES was proven to cause a rare form of vagninal cancer, although DES was not withdrawn until 2000.

“The US Department of Agriculture even banned its use in 1979 as a growth stimulant in livestock,” just showing that cattle rank higher than women. (Love in a Mist-or Devil in a Bush, 2019). The first breast pumps were developed in the mid-19th century and were based off of those used on cows with a few adjustments. Eventually, “male inventors recognized that human women are not cows and kept improving on the machines to make them (slightly) more user-friendly” (Smithsonian Magazine, 2021). Other featured projects include the Sounds of Extinction by soundscape ecologist Bernie Krause. recording landscapes around the world looking at how selective logging has had a devastating impact on local wildlife through audio and visuals. Uncertain by Desirée Dolron is a video installation that shows the unnatural growth of nature through a swamp on the Texas/Louisiana border that has been taken over by an aquatic plant known as Salvinia that was imported from Brazil in 1998. This leads to the third greenhouse, Extinction. (Love in a Mist-or Devil in a Bush, 2019).

"Reproductive Rights." Love in a Mist. Accessed September 30, 2021. http://loveinamist.seamlessterritory.org/reproductive-rights/. “Love in a Mist-or Devil in a Bush? How the Politics of Fertility Relate to the Subjugation of the Natural World.” Harvard Graduate School of Design. December 12, 2019. Accessed September 30, 2021. https://www.gsd.harvard.edu/2019/10/ love-in-a-mist-or-devil-in-a-bush-how-the-politics-of-fertility-relate-to-the-subjugation-of-the-natural-world/.

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3. Extinction Extinction confronts the need to incorporate women and indigineous “wisdom and values” into conservation and the environment. According to a report by the UN in 2019, nature is declining globally at an exponential rate. The report emphasized the importance of strengthening practices of care between humans and the natural world by recognizing the positive contributions of women, and indigenous communities in particular, to nurturing human relations with the environment and to regenerative sustainability. This greenhouse includes projects such as UNCERTAIN, TX and Complex Systems by Desirée Dolron. The takeover of invasive species turns out to be “one of five major factors imperiling the one million animal and plant species facing possible extinction in upcoming decades due to human activity” (CITE). 4. Compost The final part of the exhibition decenters the human and reimagines a more symbiotic living. Donna Haraway’s “Children of Compost” reimagines a different and better relationship between humans and the earth. Projects include Franco-GuyaneseDanish artist Tabita Rezaire’s 21-minute video installation, Sugar Walls Teardown which talks about the exploitation of the womb for women of color especially. They have been used as guinea pigs to further white gynecological “progress” tracing back to James Marion Sims’ and the experiments on slaves ← “digital healing activism.” "Reproductive Rights." Love in a Mist. Accessed September 30, 2021. http://loveinamist.seamlessterritory.org/reproductive-rights/. “Love in a Mist-or Devil in a Bush? How the Politics of Fertility Relate to the Subjugation of the Natural World.” Harvard Graduate School of Design. December 12, 2019. Accessed September 30, 2021. https://www.gsd.harvard.edu/2019/10/love-in-a-mist-or-devil-in-a-bush-how-the-politicsof-fertility-relate-to-the-subjugation-of-the-natural-world/.

What if Wome

Israeli artist Y which interm advocates, th reminiscent d a Bush, 2019). global disaster

“Complex Systems” brings forward the dichotomy between the individual and the collective comparing to the movement of birds in the sky. The relationship between the individual and the collective and the notion of unconsciousness and psyche are coming together in this piece (Love in a Mist-or Devil in a Bush, 2019).

en Ruled the World

Yael Bartana’s “compelling stage performance, mingles an all-female cast with legislators, hinkers, and scientists in a Dr. Strangelove– doomsday scenario” (Love in a Mist-or Devil in . Claims that the patriarchy has brought us to r

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Joep van Lieshout’s larger-than-life sculpture of the female reproductive system, as if reborn from its history of trauma

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Heirarchy within Greenhouse

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Speculation Each greenhouse is very interactive, using tools such as photos, video, sound, sculpture, maps, infographic, text, and drawing allow the user to be constantly involved and interactive. Each greenhouse has multiple projects that support the overarching theme. This precedent was selected due to its seamless blend of design and reproductive politics through an exhibition format, trying to express the unspeakable thorough installation and architecture. Love in A Mist helps to understand politics and politics through space. • What triggered the main idea? • Why did you choose an exhibition format? Why not display this information in a different format? How did you know an exhibition was the right choice for this information? • Could we go through the anatomy of your exhibit? • How did you incorporate the columns and the structure of the existing building in your exhibition? Did you have to work around the existing features in the space and if so, how did that affect the design of the exhibition? Do you think the exhibition would have been different without the columns and how? In other words, did you have to conform to the space you were given?

• Is this exhibit moveable? If so, does that affect the design differently than if it was static and permanent? Has this exhibit been showcased anywhere else? And if so, do you fit the exhibition to the space you were given? • Where are the users being directed in the space when they walk into the space? Where should people start? How do you design the user to begin the experience? Is this noted clearly? • Can you help me understand the color theory and lighting design in the exhibit? Why green and pink lighting? Does the lighting change or is it static? • How did you decide to orient the greenhouses? Why the ‘accelerated growth' farm animals in the center? • What do you want the users to feel in the greenhouses? • What do you want the users to feel after leaving the exhibition? • How did you determine this size exhibition? • Was it difficult to tackle two large topics into one exhibition? And how did you narrow down? How did you go about the process and research? • How is information displayed? How are artifacts displayed? Why did you choose this format?

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COSMO-CLINICAL INTERIORS OF BEIRUT F-ARCHITECTURE Feminist Architecture Collaborative Virginia Black, Gabrielle Printz, and Rosana Elkhatib Feminist Architecture Collective, located in New York, was founded by Virginia Black, Gabrielle Printz, and Rosana Elkhatib in 2016 aimed at “disentangling contemporary space and politics that police our bodies” (Feminist Architecture Collaborative, 2019). They work with installations, exhibitions, activism, and researchbased projects and believe that the body is an architecture. All of their projects deal with “putting their bodies into a particular landscape or context and thinking about them as entities they understand to be co-extensive with the project of architecture” (Feminist Architecture Collaborative, 2019). They collaborate with people who operate in a spatial way that go unnoticed by the field of architecture. Previous projects included immigrantion processing at the South border of the U.S., partnering with AMUPAKIN in Ecuador, organizing a gay pride parade in Jordan, and more recently, a target on the fake hymen industry.

“Good Girl” perfume, designed for a young bride on her wedding night in Beruit, Jordan.

Entertainment, The Magazine for Architectural. “F-Architecture and the Hymen Industrial Complex.” PIN. Accessed September 20, 2021. https://pinupmagazine.org/articles/f-architecture-interview-feminist-architecture-hymenoplasty.

https://archleague.org/article/inventing-f-architecture/ “Feminist Architecture Collaborative (f-architecture).” The Architectural League of New York. July 23, 2019. Accessed September 18, 2021. https://archleague.org/feminist-architecture-collaborative-f-architecture/.

HYMENOPLASTIC TERRITORIES + DESIGNED VIRGINITIES Do you want to let your partner think you’re a virgin? A “Virginity Hymen” gives you the opportunity to become a “girl” again. When inserting the dye-filled membrane into your vagincal canal, the film mixes with your bodily fluids before intercourse to mimic an intact human hymen to fake virginity. This artificial membrane is designed to simulate “virginity” through the form of the hymen. These prosthetics are manufactured in labs, factories, discrete markets, operating rooms, and private homes” (CITE). This manufactured membrane is an alternative to hymenoplasty surgery. rhinoplasty- cosmetic repair and construction of a woman’s hymen and is thought of as “revirginization.” Virginity is a social construct and a way to control women’s actions by saying that those who are pure are praised and those who have sex before marraige are shamed.

F-Architecture explores this idea further in their exhibit, CosmoClinical Interiors of Beirut at VIPER Gallery in Prague. Interested in this idea of the hymen and the space of the clinic, the exhibit “probes the medical-cosmetic industry where cultural ideas of virginity are hacked and commodified through hymenoplasty and prosthetic hymens” (CITE). Exploiting and using virginity as an economic gain. This research project, exhibition, and VR experience explores the role of architecture in relation to these topics. Through intensive research, mapping the virginity market, hymen manufacturers and distributors, the team settled upon Beirut, Lebanon, the prime hotspot for “medical tourism” in the Middle East (Gallery, Viper, 2021).

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Walking into the space, you are confronted by two large curtains. The exhibit analyzes the space of a clinic in Beirut. They note that it is “a site of bodily reinvention and production.” Their goal was to domesticate the clinic through the use of materials, light, and objects. The chair is something from an 80’s health center to perform an abortion at home. There is also a hand mirror and speculum device. This exhibit is a way to personalize the product in a way we can all understand. Why that material curtain? What is the approximate sizing? What are the objects and why those objects The curtains seem to take up a lot of space and meaning. Is there a reason the curtains are so prominent in the space? Why that material for the curtains? Why does one installation have windows, and the other has none and is darker? Was this purposeful? What is the meaning behind that light and dark contrast? What do the users do in the space? What do you want the users to get out of the space? How are the users directed when they first walk in? Is there a place you want them to go first? How was this shown through the design of the exhibit? For instance, the fabric hanging on the wall to the left when you first walk in, was that important in their journey when they first walk in? Why is Virtual Reality such a focal point in each of these exhibits? What are the fabrics hanging on the wall? Why does the floor lift in the first “pod”? Why did you pick VIPER Gallery as your site for these exhibits?

F-Architecture Cosmo-Clinical Interiors of Beirut, Beirut, Lebanon, 2018

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What were the choices behind the color? Why is the room red? Why the particular position of that carpet there? Why the position of the curtains there? What do you want the users to feel during and after they leave the exhibition? What triggered the main idea? Understand how they got to that placehow did they go about designing it, how they got to the practical, physical stage What I got out of it The exhibition was a curation of a clinic in Beirut. They took the typology and started twisting or symbolizing it to make awareness Chose the clinic in Beirut as a way to tell their story <-- What is my story and what would explain my story best You don’t truly understand something until it becomes personal to you or you experience it. Presenting this topic in a way that people can understand and make it personal to them. F-architecture designed this exhibit to resemble a clinic and for the user to be able to interact with and experience being in the clinic.

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Cosmo-Clinical Interiors of Beirut

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Designing Motherhood things that make and break our births

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Means of Reproduction Midwives Partuitions Exam Milk

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What are the projects and designs that have helped facilitate or blocked reproduction throughout history? Designing Motherhood: Things That Make and Break Our Births is a featured exhibition by Michelle Millar Fisher and Amber Winick at the Mutter Museum in Philadelphia, PA that looks at the products of birth, material culture of human reproduction, and how design influences bodies. The exhibit was facilitated by the Maternity Care Coalition which “ensures families can birth with dignity, parent with autonomy, and raise babies who are healthy, growing, and thriving” (CITE). Other venues include the Center for Architecture + Design and the University of Pennsylvania’s Weitzman School of Design (Aclair, 2021). Fisher and Winick present this reality in a brutal and honest way, not shying away from the trauma that has been caused by reproductive health in an attempt to include these products as part of the conversation. One thing to note is that this exhibit highlights the voices of real people who are actually doing the work, instead of (usually white) narrators telling other people’s story.

This exhibit is “centering the experiences of people not often represented at the gates of high-culture institutions - these objects are used by people who don’t have a voice in history (Muthulingam, 2021). The Mutter Museum is a medical museum a part of The College of Physicians of Philadelphia which was founded in 1858. The exhibit cost $15 for students to enter, no food or drink, or photography. This educational institution has four floors which contain additional educational spaces, event spaces for weddings, and a library. About 100 outside visitors per hour from 10-4 pm. It should be noted that the entry level is most hectic as people don’t realize there’s a bottom level and therefore, get most congested. Designing Motherhood will stay live at the Mutter Museum until May 2022.

Aclair. "Designing Motherhood: Things That Make and Break Our Births - GRANT." The Pew Center for Arts & Heritage. September 07, 2021. Accessed September 30, 2021. https://www.pewcenterarts.org/grant/designing-motherhood-things-make-and-breakour-births. Muthulingam, Dharushana. "A New Exhibition in Philadelphia Examines the Hidden Histories of Reproduction." Vogue. August 03, 2021. Accessed October 01, 2021. https://www.vogue.com/article/designing-motherhood-exhibition-mutter-museum.

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Mutter Museum Cadwalader Gallery

First Floor Plan

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Existing Placement

You enter the exhibit first noting the diagonal wall that splits the room in two. The room is brightly lit with hardwood floors, high ceilings, large windows, and white pedestals containing various objects. The exhibit centers around two pedestals; viewers rotate around a central point. The remaining cases are on the perimeter of the room and walls, some standing white pedestals and glass cases, white others are glass cases fixed to the wall with red velvet backings. The exhibit was laid out in 5 different sections: Means of Reproduction, Midwives, Parturition, Exam, and Milk.

Means of Reproduction displays a row of intrauterine devices (IUDs) throughout history. In particular, the Dalkon Shield, which was administered to around two million women in the United States in the 1970s. However, the design caused pelvic inflammatory disease and infertility. This exhibit not only shows the beauty of these products, but shows the trauma that some of these objects have caused to many people. Next to each case or form of media, is a white card noting each artifact and time period.

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To the left of the entrance in a small nook is a tv screen with a semi-circle curtain of what looks like an image of the inside of a womb printed on it. There are three, white stools that rest in front of the screen meant for viewers to sit and watch the film. All my Babies: A Midwife's Own Story shows the critical role black midwives had in the 1950’s and was used as a training aid for midwives. This was at a time when birth was moving from the home to the hospital. Pasted on the wall under “Exam” were photos from the book, Table Manners’ Guide to the Pelvic Examination for Disabled Women, an artifact provided by Planned Parenthood. Artifacts on display included 19th Century Speculums, stirrups from 1885, and a check mirror from 1983. The exhibit, along with the rest of the museum, was quiet, except for the sound of the audio of the four videos on repeat. Sounds of a doctor stitching up a perineal tear, women marching, and a newborn crying through the screens echo through the space. One could also hear the faint chatter of visitors- friends, women by themselves, family, and couples.

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Hearing people's comments was super powerful. One case held iterations of IUDS from history. One man says, “these look like torture devices.” One exchange in particular that stuck with me was a wife, husband, and daughter around four years old, Husband carrying a little girl in his arms, explaining the artifacts. As they’re looking at the IUD case, the man says, “mommy had one of these before you were born. They keep you from getting pregnant.” The little girl, all upset, goes, “I don’t wanna get pregnant!” “Well you don’t have to get pregnant,” they both say. It was very surreal and powerful to witness that- the power of age, family, and education in one moment. Seeing that little girl oblivious and unaware to the world around her, that she doesn't know that one day this is going to affect her, was painful. I overheard a visitor speaking to a couple, noting that she was a gynecologist from Texas. This was my opportunity. I ended up talking with her for 30 minutes. This is what the exhibit is meant for right? A safe space to hear the voices of others and to speak about this topic.

Media Methods Curators, Fisher and Winick, use multiple forms of media including audio visuals on tablet screens, books and pamplets for users to flip through, and artifacts dated back to the 17th century.

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Circulation Where I went upon entering: disorganized, confused on where to go or start first. The order of the exhibit seemed like it could have been mislabelled. Spent a lot of time trying to figure out where to go- that is time wasted.

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Circulation The exhibit centers around two pedestals. Viewers rotating around a central point.

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The space was brightly lit with three large windows. Each window had a pull down shade which blocked any harsh and direct light. Similar to the Harvard exhibition, this installation used a handful of media and tools to convey the topic; video, sound, text, books, women's health zines, and artifacts. Using different subsections as snapshots. Although the material felt overstimulating at some points, the design of the exhibit did not contribute and acted as a backdrop to the heavy subject matter through the softness of color and material. This case study was the perfect opportunity to visit a temporary installation, that is currently open, on the topic of women and reproduction. Being able to visit an installation allowed me to really engage with the material in a way that I would not be able to if researching online. It gave insight into exhibition design.

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Why was the exhibit organized in this way? Why is Means of Reproduction not closer to the entrance? Who is the target audience? What do you want viewers to experience or get out of the exhibit? Was this designed as a mobile exhibit? What was the intent of making it mobile rather than a permanent exhibit? How did you know an exhibit was the right platform to share these narratives? What is the timeframe you’re starting at and why then? This exhibit is about motherhood. These are all products related to women, but what we don’t see are condoms or anything related to conception. It’s understood that these are tools that have shaped reproduction, however, there wouldn’t be motherhood or reproduction without a man. It would have been interesting to teeter on the edge of that side. Like Pantea Parsa notes, abortion and reproduction begins a lot earlier: with sex and men’s responsibilities. Why not include the man? Felt the order of the exhibit was confusing and out of orderwayfinding

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User Journey Map The map helped her understand the moment agonizing steps of the journey to then ask subject matter experts and users about them.

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BY CHOICE: DESIGNING THE ABORTION JOURNEY Brooklyn, NY, US Pantea Parsa

Pantea Parsa is a Multidisciplinary designer based in Brooklyn, but grew up in Tehran, Iran. Taking her experience as a MiddleEastern woman into the design field and social justice. Focused on the abortion care sytem as her thesis at the School of Visual Arts. Traditional Iranian society taught young girls that motherhood is the ultimate fulfillment for women. However, at home, Parsa’s mother was the opposite; she refused to be defined as just a mother and wife. “For her thesis, By Choice: Designing the Abortion Journey, Parsa spent her time researching the abortion care journey and designed a suite of products that address the abortion journey from different lenses—including “access, community, activism, and male accountability.” Parsa used her design toolkit to address a political problem personal to her.

Choices are being made for women (education, marriage, sexuality, finances, abortion, representation Using her design toolkit to address justice in abortion care system Not having access to safe abortion takes the power away from the woman in 3 ways: access to wealth (below poverty line), access to healthcare (we treat it as a political issue rather than healthcare), and survive violence. Parsa questioned: how can design shift the power dynamic? Engaged with subject matter experts System map of a woman’s journey from the moment she finds out she’s pregnant from the time she recovers from an abortion - experience divided into 3 different parts; Pregnancy, Abortion, and Recovery. Women’s reproductive rights depends on their zip code. How can design enhance community building and support in abortion care? What does full reproductive autonomy look like for women?

(1) Parsa, Pantea. "MFA Thesis." Pantea Parsa. Accessed October 01, 2021. https://www.panteaparsa.com/mfa-thesis.

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Visualizes the thesis audience and users

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Frei

Parsa realized she was focused too much on the woman and not their relationship with their intimate partner and that the abortion journey begins a lot earlier - with sex and mens responsibilities. Frei is a device designed to give to the intimate partner and emphasizes the importance of empathy and engagement among intimate partners. “How might we provoke thoughts about the shared responsibility of procreation and abortion?” This device is used to water and fertilize plants with menstrual blood. Menstural blood can be used as a plant fertilizer since it contains three essential plant nutrients: nitrogen, phosphorus, and potassium. The goal is to keep your partner engaged in your cycle and to open a new dialogue about reproductive responsibility.

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https://issuu.com/pparsa/docs/issuu

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The Bathroom Pavillion Matilde Cassani, Ignacio G. Galán, Iván L. Munuera, Joel Sanders Location: Corderie dell’Arsenale

The built environment—including bathrooms— is still a battleground not only for the injured, but also for disabled individuals from multiple generations, in their struggles to navigate space (Your Restroom Is a Battleground, 2021). This series presents seven case studies around the world as an installation. The Bathroom pavillion provides an inclusive description of the realities in whch restrooms exist in. Each case study illustrates different restoom battles and the moral and social concerns that come with it. “Restrooms are spaces where gender, religion, race, hygiene, health, and the economy are defined and expressed.” Restrooms are described as neutral spaces that cater to the individual. However, “they are contested spaces that are shaped by and in turn shape the ways bodies and communities come together” (Your Restroom Is a Battleground, 2021). Current events such as COVID-19, the climate crisis, and thee political climate, have made this ever more prominent. The Bathroom Pavillion examines different estroom typologies across the world.

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MY BOUDOIR New York, NY, US Natalia Vlachopoulou As constructed in 18th century France- the boudoir is a room typology associated with femininity, dressing and sensual embrace. Propaganda illustrating the boudoir as a place for sensual embrace rather than a female study. Vlachopoulou looked at the similarities in assumptions between interior design and the boudoir; both are associated with femininity. “My boudoir is a personal, prototypical narration for a feminine, decorative, vain study room the declaration of my worldview inasmuch as a projection of my interior” (Vlachopoulou, 2021).

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Vlachopoulou, Natalia. "My Boudoir." Natalia Vlachopoulou. Accessed October 01, 2021. https://www.nataliavl.com/boudoir01.

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Precedents Reiner-Roth, Shane. “Margarete Schütte-Lihotzky Invented the Modern Kitchen.” Archinect, 8 May 2019, archinect.com/news/article/150135578/margarete-sch-tte-lihotzky-invented-the-modern-kitchen. Smith, Robert. “A Kitchen Revolution Aimed at Freeing Women.” NPR, NPR, 18 Sept. 2010, www.npr. org/templates/story/story.php?storyId=129935115.

COUNTER SPACE: DESIGN AND THE MODERN KITCHEN Museum of Modern Art, New York, US Sep 15, 2010–May 2, 2011 Juliet Kinchin,Andrew Gardner

The kitchen has always been a battleground and center point for politics and gender roles. The exhibit, Counter Space, watched the evolution of the 20th century kitchen. In the center of the gallery rested an exact, intact model of a Frankfort Kitchen. Architect Margarete Schuette-Lihotzky designed the first ergonomic kitchen in 1926 for a housing project in Frankfurt, Germany. The entire kitchen was ripped up and shipped to the MOMA creating a new exhibit called Counter Space: Design and the Modern Kitchen.

Museum of Modern Art New York, NY, US

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The Frankford kitchen was designed to cut the time devoted to household chores, making kitchens (and women) more efficient. Its compact layout was determined by the typical cooking/ cleaning sequences of the time, significantly reducing the time one spent in the space (Reiner-Roth, 2019). The new ideas of built-in bins, under cabinet storage, pullout drawers and a four-burner stove were designed to make the most out of a limited space in 1920 apartments. Curator, Juliet Kinchin notes that, “For centuries, really, the kitchen had been ignored by design professionals, not least because it tended to be lower-class women or servants who occupied the kitchen space… It was women who led the reform of the kitchen into an efficient space -- one to be proud of. Kinchin says, “they were trying to adopt a scientific approach to housework and raise the status of housework.” She felt without sorting the drudgery they were involved in, they’d never have time to develop themselves in a professional way (Smith, 2010). However, many feminists at the time argued this kept women in the kitchen and isolated them. “Architects weren’t just creating kitchens, they were designing the perfect housewives to go in them.” The exhibit includes a large architectural drawing of a woman with all her dimensions clearly marked- Josephine. “She’s the 5-foot4 incarnation of the average American woman, life-size. That is what designers used to design the dimensions of the modern kitchens” (Smith, 2010). Reiner-Roth, Shane. “Margarete Schütte-Lihotzky Invented the Modern Kitchen.” Archinect, 8 May 2019, archinect.com/news/article/150135578/margarete-sch-tte-lihotzky-invented-the-modern-kitchen. Smith, Robert. “A Kitchen Revolution Aimed at Freeing Women.” NPR, NPR, 18 Sept. 2010, www.npr.org/templates/story/story.php?storyId=129935115.

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Program Programming looks at the functional needs of the building type such as square footage, adjacencies, materiality, light. What sizes are ideal? What equipment will operate in the space?

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What is an Exhibition? Museums and exhibitions rank as the most trusted source of information, more than the media and more than the government.1 An exhibition is a presentation and display of selected objects in public space that tells a story. Exhibitions usually occur in a formal, cultural, or educational practice such as a museum, art gallery, library. It is a communication medium. An exhibition consists of a group of exhibits organized around a topic.2 Exhibitions are experiences, not products. They are strongly dimensional- including objects, props, and other three-dimensional components. This thesis is proposing a mobilie exhibiton through the use of shipping containers that will include multiple immersive stories. A traveling exhibition is transported from institution to institution. 1 “Museums and Trust 2021.” American Alliance of Museums. October 13, 2021. Accessed December 10, 2021. https://www.aam-us. org/2021/09/30/museums-and-trust-2021/. 2 Walhimer, Mark. “Museum Exhibition Design.” Museum Planner. April 16, 2012. Accessed December 03, 2021. https://www.museumplanner.org/ museum-exhibition-design-part-ii/.

History of Exhibtions Connection of art history and exhibitons- exhiibitons were used a ways to expand narratives. In the last decade, though, this technique, once intrinsic to social histories of art, has gained a certain autonomy. Exhibitions have manifested in symposia and

Types of Exhibits The diagram below shows two extremes. One extreme is Object Display; a presentation of objects arranged attractively for the objects sake with no interpretive information. The objects speak for themselves. The other extreme is Information display which considers objects as minimal imporance and they may nor be present. Text and graphics heavy to convey message. The intent is to communicate an idea that the exhibit is centered around. On the diagonal line is an Object-Oriented exhibition. Collections are central and educational information is limited. A ConceptOriented exhibition: message and transfer of information rather than on collections.1

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Preliminary Program Tactics The Twist

Street and Exhibit The twist is a program tactic that combines two or more programs into a single form. These diagrams connect the street as a place of demonstration or as a place of social engagement with the idea of an exhibition (combining something uncurated and dynamic with something static, sophisticated, and formal; the exhibit). This is a space that exhibits but also becomes the narrative. A mobile container that holds the exhibit, but unfolds and disassembles at its location and becomes static.

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These diagram body as archit body with an e body also occ breathe (circulat (appearance, (rep

The Time Share

Body and Exhibit

ms center around the female tecture: combining the female exhibit and physical space. The cupies different functions: to te blood, stay alive) the external body image), and the internal produce, give birth).

The Street The Time Share looks at different functions of a single space. For instance, a high school gym is a place for dogeball, but also where a commencement ceremony is held. These diagrams look at the different uses of the street: a place for cars to get from one place to another, and a place for demonstation, marching, parades, and festivals.

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Program

What is the Story? “What is the story of the exhibition?” How do the artifacts/art tell the story of the exhibition? If you were to imagine the artifacts/art objects as “characters” in a play, what role would they play? 1 The exhibit dissects a few of the many tools used to control, regulate, and police the female body, both externally and internally, supressing women from freely being our authentic, wild, and unapologetic selves. Why is this topic important to the community or exhibition audience? How does this topic allow you to feature local people and stories? We are in an awakening. Generations are rising up and challenging the harmful systems that have been normalized and suppressing minority populations. Striving for equality and a better humanity, this topic addresses timely issues in contemporary society.

1 Walhimer, Mark. “Museum Exhibition Design.” Museum Planner. April 16, 2012. Accessed December 03, 2021. https://www.museumplanner. org/museum-exhibition-design-part-ii/.

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The content of an exhibition can consist of labels, photos, images, objects, audio, video, and interactive experiences that connect to the main theme. Think about what materials will illustrate the story? “Chunk out” where you will tell each part of the story and how each area of the exhibition will “look and feel”. On a personal level, relevance makes an individual feel connected. “The more relevant you can make an exhibition to your community the more powerful and valuable it will be.”1 If it adds meaning to your life, if it makes a difference to you, it has affected you on an emotional level.

1 “Exhibition Planning Guide.” Museum On Main Street. Accessed December 9, 2021. https://www.humanitieskansas.org/doccenter/45b34b156b5c4e61ab875352a18c3513.

Control and Ownership of Women’s Bodies The body is an interior space, a container, and a vessel. It is a place of control and decision making. Women’s bodies being owned by someone else. The woman is viewed as an object of fascination and tuning the body into a vessel of commodification. Women should be in control of their own bodies.

The Womb What is it like to be in the womb, in one of the most politicized spaces? There is no other medical procedure that is legislated in the way that abortion is. The womb is seen as a threat. It is the most powerful organ in the human body. The womb is a place of invasion and control. How can one experience reproductive rights and female agency through built space? Impact / Goal Provide an otherworldly experience that leaves visitors with a differerent perspective on the womb while educating on its power. Is there a way we can humanize the womb again? How do you see the womb from a non political lens?

The External Looking at the external body that is objectified, manipulated, and controlled: the hunter and the hunted. Our bodies makes life dangerous for us. It is seen as a womans responsibility to protect men from the threat that is our body and the threat that is our sexuality. It’s too tempting. My body is MY body. Our bodies do not belong to anyone. What is it like to feel like your body isn’t yours? How do you express your body no longer belonging to you through design? How do you show the physical exterior of a body and objectification through built space?

Impact / Goal Understand and feel the system Feel emotions- disgust, uncomfortable, anger, Spark something in the viewer, a need for change

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Taking Back Our Power Now that we have a better understanding of the system, how we can take back our power with this knowledge and break our conditioning? Looks at embdiment, representation, and those who rebel against the system. How can design make us feel empowered? Impact / Goal This is a container for reflection, empowerment, hope, and community. Viewers should feel a spark and

PROGRAM

Total: 4,208 Sq. Ft.

Program

Needs and Preferences

Each visitor has different needs, desires, and preferences and learn in different ways. Everyone is drawn to different types of content. Ideas: Visitors seeking conceptual and abstract thinking People: Visitors seeking emotional connections Objects: Visitors seeking visual language and aesthetics Physical: Visitors seeking multi-sensory experiences1

Identifying your Audience

The more you can identify specific audiences, the stronger the exhibition will be and the easier it is to target your message. This audience is imagined be those willing to learn, who are open to experiencing new things, who are curious, and want to see something different. The audience will be all genders, all ethnicities, races, and ages. How can you map the visitors experience? From when they buy the tickets, to parking the car, to entering the front doors, to leaving. Where will this exhibition fall in the visitor’s museum experience, protest experience, or festival/event experience?

Impact

What is the visitor hoping to gain? This exhibit should be designed so that visitors may think about things differently, create conversation, promote change, defy conventional patriarchal systems, educate, and empower.

1 “A GUIDE TO EXHIBIT DEVELOPMENT.” Smithsonian Exhibits. September 17, 2021. Accessed November 22, 2021. https://exhibits.si.edu/resources/.

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Who is the Audience? People are the only reasons for museums and exhibitions to exist. Someone will make a decision to visit the exhibition. Why did they decide to visit? Who are the people the exhibit will serve and how can you reach this audience effectively? Try to understand why is the visitor choosing to visit your planned exhibition. People have reasons for choosing one activity or event over the other. What is influencing their decision to spend the time, energy, and possibilty money, to arrive at your front door to see the exhibition.1 Each person has their own motivations for visiting the exhibtion. Some common motivations humans choose to spend their time include social interactions, new experiences, an opportunity to learn, being active, and feeling comfortable.2

1 Walhimer, Mark. “Museum Exhibition Design.” Museum Planner. April 09, 2012. Accessed December 03, 2021. https://www.museumplanner.org/museum-exhibition-design-part-i/. 2 Dean, David. 1994. Museum Exhibition : Theory and Practice London ;: Routledge. pg 22. https://doi.org/10.4324/9780203039366.

Context, Site, & Building The context and location are integral in relation to the building and interior. Considering this is a mobile platform, the site is non-traditional. The exhibition will travel across rural and urban pockets of the United States in order to have more impact, the exhibition meets people where they already are.

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Site

Public Space: Spaces of Protest and Expression Public spaces are spaces that do not belong to anyone, but to the state. These are open, free, accessible to all, and financed by public funding. Public space is a form of democracy. “It is a space of freedom of movement, expression, and most importantly, it is our first contact with a city.”1 They are meeting places and give us the chance to connect with a diverse population and can change the image of a city temporarily through the use of markets, festivals, protests. They could “generate a sense of belonging within the citizens of the same territory, cultivate pride, and encourage hangouts.”1 People define how public space is used. A big march is a test to the built environment and its spatial limitations. 1 Harrouk, Christele. “Public Spaces: Places of Protest, Expression and Social Engagement.” ArchDaily. June 10, 2020. Accessed November 20, 2021. https://www.archdaily.com/941408/public-spaces-places-of-protest-expression-and-social-engagement.

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What is a street? The street has always been used as a tool to react, have a voice, and advocate for change. The street is traditionally used as a physical place to get from one destination to another. The role of streets in the built environment are used for circulation; transporation, unrestricted movement of people and goods. They are interstitial spaces that enable the city. However, the street has power. It is also used as a place of demonstration. The street is used for demonstration, revolution, community, activism, and resistance. Protests are most effective and common at locatinos of community or of historical significance to the cause; iconic parks, streets, or squares.

The Power and Purpose of Protest “A protest is an event or action where people gather with others to publicly express their opinions about something that is happening in society” to demand change.1 Other outcomes include: raising awareness about a perceived injustice, advancing policy or legislation, connecting with others, speaking ones truth, or to learn more about an issue. Governments understand the threat that the public space generates as we see the effort in trying to silence these movements by the use of barricade, police, and control of these areas. Protests can take the form of marches, rallies, sit-ins, music, peformances. A march or demonstration that involves a group of people walking from an assembly point to a predetermined destination. Marches and rallies are forms of demonstrations. Demonstration can be non-violent or violent or can begin nonviolent and turn violent Rally: people gather to listen to speakers or musicians. Sit ins are demonstrators that occupy an area for a certain period of time until they feel the issue has been addressed or are forced to leave.

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1 “The Purpose and Power of Protest.” Anti-Defamation League. Accessed November 20, 2021. https://www.adl.org/education/ resources/tools-and-strategies/the-purpose-and-power-of-protest.

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History of Protests

Boston Tea Party December 16, 1773 Boston, Massachusetts First significant act of rebellion by American colonist against the British. For years, colonists were unfairly taxed by the British government. It sparked the First Continental Congress in 1774 and led to the American Revolution, which began in Massachusetts in 1775 and ended in 1783 when the British formally recognized U.S. independence.1 1 “7 Influential Protests in American History, Serving as Acts of Patriotism.” University of Central Florida News | UCF Today. November 27, 2020. Accessed November 27, 2021. https://www.ucf.edu/news/7-influential-protests-in-american-history/.

Women’s Suffrage Parade March 3, 1913 Washington, DC Organized by the National American Woman Suffrage Association and activist Alice Paul, the Women’s Suffrage Parade consisted of more than 5,000 suffragettes, four mounted brigades, nine bands and 20 parade floats, all marching for the right to vote. it would take seven more years of protests, demonstrations and other tactics before the 19th amendment, which grants women the right to vote, was ratified on Aug. 18, 1920. Black women combined their advocacy for suffrage with other causes, but they also had to combat racial discrimination in the predominately white national women’s suffrage campaign

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Protest Case Study

Black Lives Matter Movement June 6, 2021 The United States On May 26, 2021, white police officer, Derek Chauvin, knelt on the neck of George Floyd, a 46 year old African American man in Minneapolis. Protests erupted all over the US where people across the country used the street as a message and as voice to express outrage, frustration, and sorrow towards systemic racism. May 26- peaceful protests began in Minneapolis and the police interferred with tear gas and rubber bullets, firing into the crowd May 27- protests erupt all over the US. In Los Angeles, hundreds of protesters converged in the city’s downtown area to march around the Civic Center. A group of demonstrators broke off from the march and blocked the Route 101 freeway Crowd counters were revealing numbers of extraordinary scale. Collective group of people to unite, join forces, feel, heal. Likemindedness. To make a statement. This was more organic in nature, not organized commitments to reduce police resources and funding, and make changes to their systems

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Washington, D.C Matter, Mura DC Public Works painted 35-foo on 16th Street NW of Lafayette Sq President’s Park ne

C. Black Lives al, June 2020 s Department ot-tall letters W on the north quare, part of ear the White House

Site

A Mobile Exhibit

The Mobile Museum: From Exclusion to Inclusio Juhyun Shin, Rhode Island Schoo of Desig Bringing the museum t neighborhoods, everyone wi have an equal opportunity an gain the value of the a

What draws a person to visit an exhibition as opposed to staying at home? Most museums are defined by their permanent and static qualities. This exhibion is exploring a mobile platfom. “Mobile musems temporarily occupy already significant urban sites.”1 Museums don’t reach everyone. Mobile Museums reaches people where they already are! Exhibits and museums are important but their impact is limited; expensive entry, limiited audience. A mobile museum brings the museum to the people rather than vice versamaking the exhibit accessible to more populations. We as humans love permanence, when in reality, change is our only constant. Kumbh Mela is a major festival and city in Hinduism that occurs once every 12 years, designed to be erected, inhabited and dismantled all in a span of five months. Fabric is used to build the entire city which allows it to be dissasembled within a week, meant to hold seven million people. This mobile platform explores the idea of temporary, reversability, and dissasembly. It will be able to assemble and disassemble at a location for a certain period of time, promote connections, and leave very little mark. 1 “Mobile Museums.” Public Art Lab. Accessed November 02, 2021. http://www.publicartlab-berlin.de/ projects-2/public-art/mobile-museums/.

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Natural History Museum Los Angeles Count An Ocean Experience program a two-part 100-minute program for students in grades 6-12 The program is facilitated b three teachers who work wit students in the Mobile Museum and a school provided classroom (Museum Lab).The experienc takes place in a 65 ft. x 2 ft. trailer with a 14 ft onboar generator that supplies powe

m on ol gn to ill nd art

m ty is m 2. by th m m ce 20 rd er.

Public Art Lab Berlin, 2006 Mobile Webcast Studio that transmitted to corresponding issues regularly mobile, autonomous production laboratory for young artists, musicians, performers and cultural programmers. Traveled to Belgrade, Budapest, Bratislava, Gdansk and Sofia for several day workshops.

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The Shipping Container

Mobile Cargo Container What is the size of the exhibition space? The exhibition will be held in a series of mobile shipping containers. Shipping containers are steel boxes that transport cargo all around the world. The modular and mobile nature of the structure creates for easy compact and transport. They have been transformed into houses, hotels, parking garages, shops, and other buidlings.

20’ Standard 160 square feet

40’ Stand

320 square

Closed containers on all sides. Doors at one or both ends, door at one or both end(s) and doors over the entire length of one o both sides, or doors at one or both end(s) and doors on one o both sides

The standard cargo container: internal floor area: 150 sq ft weight: 2.44 tons 8ft wide, 8.5ft high 20 or 40 ft long weight: 5,000 pounds

Parameters of Sea Containers.” SeaRates. Accessed December 07, 2021. https://www.searates.com/reference/container/40-foot-standard.

20’ Open Top

40’ Open

The walls of open-top containers are generally made of corrug The floor is made of wood. These simplify the process of packi unpacking the container. It’s easy to pack and unpack the cont crane.

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dard

40’ High Cube

rs or or

The high-cube containers are similar in structure to standard containers, but taller. Standard height is 8’6” whereas the high cube is 9’6.” They aer suitable for transporting light, voluminous cargoes.

e feet

45’ High Cube

n Top

20’ Flat Rack

40’ Flat Rack

gated steel. ing and tainer by

Flatracks consist more of a floor structure with a steel frame with two end walls which can be fixed or collapsible. These are more suitable for overheight cargo as they have a high loading capacity. The flatracks can be stacked one on top of eachother

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The Shipping Container

Standard 20’ Container

Plan

Section

Roof Plan

Front Elevation

Side Elevation

Door Elevation

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Containers Compact on Trucks

Containers Assembled on Site

Total: 5 Trucks 157

Container Parameters Shipping containers are made mostly out of corten steel and have a closed top with hinged doors. They have corrugated walls on the top and bottom sides and are welded to the rails and end frames. They are large and sturdy enough to carry goods, but small and compact enough to fit on trucks and lifted by cranes or forklifts. They are built to withstand extreme weather conditions on land or at sea. Components Each shipping container is made out of several standard components. Beams or Joints These are cross members to help support the floor. They create a space between the flooring and the ground which prevents moisture from seeping from the ground and” into the container.” They naturally lift the container. Corner Castings These are the reinforced corners of the shipping container. They are fitted with openings that allow for twist-lock connections with other containers or to anchors. They are incredibly strong. Twist Locks These make it so other shipping containers can secure into the container. Forklift Pockets Most containers are fitted with two reinforced slots along the bottom edge known as forklift pockets.

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Transportation Transport by Truck Cargo containers can be transported using semi-trucks or on flatbed trailers Tilt-bed truck: Moving a container less than 200 miles. This is more cost effective; no need for crane or forklift. The bed tilts the container off. Transport by Boat The cost to move a shipping container is determined by several factors: travel distance, location, time of year, access to drivers, gas prices

Methods of Alteration Hydroswing® hydraulic door is pre hung in its very own load bearing frame. The door can be fitted to the ISO shipping container on either of the sides, ends or top

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Container Precedents

Box Park, Croydon 2011 With a total of 96 shipping containers, this is one of the largest pop-up food and beverage malls. It also includes 20,000 sq ft of event space which BoxPark will use to host around 200 live events each year. It holds a 2000 person capacity and tok 12 months to build. This precedent was chosen to show the variety of large scale, urban settings. Exploring the possibility of a “village” type setting.1

1 “BoxPark Croydon.” Adaptainer, https://adaptainer. co.uk/container-conversion/boxpark-croydon-pop-up/.

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Australian National Maritime Museum 26 October 2017 - 2018 Royal Wolf, Australia’s largest provider of shipping containers, partnered with Australian National Maritime Museum for an exhibition showing the history of shipping containers. The 20’ containers required large cut outs in the side wall for showcase displays, so they can be seen through windows. The structure could also support a special solar panel which powers the creative lighting set-up inside for the use of 286,000 visitors. The exhibition travelled to locations including Sydney, Wollongong, Dubbo, Wagga Wagga, Narrabri and Fremantle before its final stop at MAGNT. due to the pandemic, including needing to go into storage for 12 months: found no deterioration over the four-year period

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Container Precedents

Kiosks at Seoul’s Dongdaemun Plaza 2014 NL Architects This series of compact kiosks were designed to activate the expansive public space surrounding the new building. This precedent was chosen due to the molding of the container to different forms for different functions. Their goal was to show that even the most rigid of forms turns malleable, pliable, and softaccomodating uses through gently curved, twisted, bent and inflated distortions to their rectangular structure.

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Seawater Cubes, Germany Seawater cubes is a ompact fish farm housed in three interconnected shipping containers. The project uses 100 square metres of floor space and can produce seven tonnes of fish annually. This precedent was chosen due to the consideration of weight and how much a container can hold. There is a hefty amount of equipment needed to operate this. The basin contains 55,000 litres of water. Uses a domestic tap water supply so it can be sited almost anywhere. There are also pumps and built-in control software. The container is meant to fit in locations where space is limited: suited for urban farming.

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Mobility

The exhibition will travel to different cities and a variety of demographics, in hopes of connecting to a broad spectrum of audiences. Sites will be formal public gathering spaces such as legislative houses and public parks while also reaching informal settings such as grocery store parking lots, meeting people where they are.

Los Angeles, Califonia

TYPOLOGY 1

Monuments

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Public Parks

Legis Hou

heyenne, Wyoming

slative uses

Chicago, Illinois

New York City, New York Philadelphia, Pennsylvania

Washington, DC Kansas City, Kansas

Birmingham, Alabama Austin, Texas

TYPOLOGY 2

Grocery Stores

Schoolyards

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Mobility

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Container Assembly Diagram

10’ 20’ 20’

10’

War on the Womb

The Objectification Room

How the containers for each exhibit get put togetherthe pieces in blue become detached for transport.

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Climate

Global Temperate Zone

The United States is apart of the Temperate Zone. “Temperate climates of the Earth are characterized by relatively moderate mean annual temperatures, with average monthly temperatures above 10°C in their warmest months and above −3°C in their colder months.”1 The temperate zone usually has four seasons with temperatures changing drastically from summer to winter. 1 “Temperate Climate.” Temperate Climate - an Overview | ScienceDirect Topics. Accessed December 16, 2021. https://www. sciencedirect.com/topics/earth-and-planetary-sciences/temperate-climate.

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Trewartha Climate Types of the United States

Philadelphia lies at the southernmost tip of the humid continental climate zone The coldest nights of winter at Philadelphia drop down to 10 °F (-12 °C) or below. Austin, Texas is apart of the humid subtropical climate. This climate is characterized by long, hot summers and short, mild winters.1 Austin averages around 35.5 inches of rainfall per year. May, October, and June are the wettest months. Winter is characterized by mild temperatures and dry parcipitation. 1

https://www.weather.gov/media/ewx/climate/ClimateSummary-ewx-Austin.pdf

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Site

1 Philadelphia, Pennsylvania

Justification

Support/Funding

Starting point, permanently located, this is the containers home and will be in storage when not in use. Philadelphia will be the voice that represents other major cities on the East Coast.

Who is supporting and maintaining the exhibition while traveling and when not in use?

Philadelphia is the largest city in Pennsylvania, home to many protests at City Hall and Benjamin Franklin Parkway.

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Women’s March Pennsylvania Women’s Way Women in Transition PhillyNow

Women’s March 2021 Protest Route

Philadelphia Art Museum

The Eakins Oval

Benjamin Franklin Parkway

Logans Square

City Hall

Philadelphia Art Museum

City Hall

Built in 1928 on Fairmount, a hill located at the northwest end of the Benjamin Franklin Parkway, as Greek Revival Architecture. The Benjamin Franklin Parkway cuts diagonally across the grid plan of the cities northwest quadrant. It starts at Philadelphia City Hall, curves around Logan Circle, and ends before the Philadelphia Museum of Art. Boulevard that runs through the cultural heart of Philadelphia. Length: 5,249 ft. East end: 16th / Arch Streets in Logan Square. West end: Eakins Oval in Fairmount Park

City Hall is the official seat of government in Philadelphia. Built in 1894, the building is built out of masonry wiht prodominate exterior materials being limestone, granite, and marble.

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User Data Philadelphia

In 2019, Philadelphia, PA had a population of 1.58M people with a median age of 34.7 and a median household income of $47,474.

Age 18 years or over: 509,014 77.5% Male- 39.8% Female- 37.7

Occupation The most common jobs are healthcare, education, and retail. The highest paid jobs by median earnings are Computer & Mathematical Occupations and legal Occupations. The most specialized include healthcare, law enforcement, and social services. Males in Pennsylvania have an average income that is 1.31 times higher than the average income of females, which is $54,144.

Wage by Gender in Common Jobs

Education The largest universities in Philadelphia by degeres awarded include; Temple University, University of Pennsylvania, and Drexel University. 17,404 degrees were awarded to men and 23,902 degrees were awarded to women.

University Student Gender

Student Race and Ethnicity

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“Philadelphia, PA.” Data USA. Accessed November 26, 2021. https://datausa.io/profile/geo/philadelphia-pa/.

Housing In 2019, the median household income of 620k households in Philadelphia was $47,474. Median Household Income 2019

Household Income 2019

Diversity The 5 largest ethnic groups in Philadelphia, PA are Black or African American (Non-Hispanic) (40.1%), White (Non-Hispanic) (34.2%), Other (Hispanic) (7.85%), Asian (Non-Hispanic) (7.51%), and White (Hispanic) (4.84%) The most common languages include Spanish (164,712 speakers or 11.1%, Chinese (37,706 speakers or 2.55%, and Arabic (13,086 speakers (0.883%).

Majority Race Key

The largest race or ethnicity living in poverty are Black (190,457), White (102,500), and Hispanic (85,287). Poverty by race

Civics Bob Casey Jr. (D) and Pat Toomey (R) are the senators currently representing Pennsylvania. This map shows the counties in Pennsylvania colored by their party leaning in the 2016 presidential election. 82.5% of the popular vote in 2016 were for the Democratic Party.

Pennsylvania is leaning liberal

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Philadelphia is very liberal

EAKINS OVAL

PHILADELPHIA, PENNSYLVANIA

SITE PLAN Containers positioned on the site in a parallel condition to show the direct line from the Art Museum to City Hall

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450’ long, 71 acre plaza in front of the Philadelphia Museum of Art featuring the large Washington Monument fountain.

https://theovalphl.org/events/

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Site

2 Austin, Texas

Texas is a state in the South Central region of the United States at 268,596 square miles, and with more than 29.1 million residents in 2020. Austin, Texas is strongly liberal, but the state of Texas is leaning conservative. The current governor is Greg Abbott (Republican Party). Senators are Ted Cruz (Republican Party) and John Cornyn (Republican Party).

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The city of Austin is a halfway point between a city and a small town. Art scene and network of public parks, lakes, and hiking trails. Known as the “Live Music Capital of the Country,” with an expansive line of concerts and bars.

State Capitol

City Hall Plaza

Capitol Building (1100 Congress Ave, Austin, TX) Protest Route

Austin Texas was chosen for its political climate and heavy debate on womens reproductive rights.

The State Capitol, located in the heart of Austin, is the official seat of governmentin the state of Texas. It was built in 1881 by architect Elijah E. Myers and is 302.64 feet (92.24 m) tall.

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Austin, Texas

In 2019, Austin Texas had a median household income of $75,413 and mediann age of 34.7 Between 2018 and 2019 the population of Austin, TX grew from 964,243 to 979,263, a 1.56% increase

Age The average median age in 2019 was 34.7. People in Austin, TX are getting getting older. In 2018, the average age of all Austin, TX residents was 34.

Occupation In 2019, full-time male employees in Texas made 1.37 times more than female employees.This chart shows the gender-based wage disparity in the 5 most common occupations in Texas by number of full-time employees.

Wage by Gender in Common Jobs

The highest median household income is Census Tract 1.02 with a value of $184,583.

Income by Location

Education In 2019, universities in Austin, TX awarded 24,983 degrees. The student population is skewed more towards women. The largest universities include The University of Texas at Austin, Austin Community College District, and Saint Edward’s University. The most common degrees include psychology, biological sciences, and economics.

University Student Gender

Student Race and Ethnicity

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“Austin, TX.” Data USA. Accessed November 26, 2021. https://datausa.io/profile/geo/austin-tx/#economy.

Housing

Household Income

Diversity Of the 979k people who live in Austin, 87.1% are citizens. The three major ethnic groups are White (Non-Hispanic) 478k, White (Hispanic) 237k, and Asian (Non-Hispanic). 32.5% of the Austin population is Hispanic. The map shows the majority race by area in the Austin metro area. Darker shades indicate a larger racial majority in that neighborhood. Females 18 - 24 are the largest demographic living in poverty followed by Males 18 - 24 and then Females 25 - 34. The largest race and ethnicity in poverty in 2019 include White, Hispanic, and Other.

Majority Race Key

Poverty by race

Civics John Cornyn (R) and Ted Cruz (R) are the current Texas senators. In the 2016 presidential election, the popular vote in Texas went to Hillary Rodham Clinton with 65.8% of the vote. The runner-up was Donald J. Trump (27.1%)

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Site

Texas State Capit

Thousands gathered Capitol on October 2 to the Senate Bill 8 w tion after 6 weeks of is before a woman ev pregnant. At the rally different groups took share their personal and thoughts. It’s no sations and rallies, it and voting so there c “Event emcee Jehmu ‘For too long we have fundamental right to and our lives. I’m pro fellow Texans as we r ment to protecting w On July 31, 2021, “a thousand rallied at t Capitol after comple march, from Georget manding federal act legislation” 2

1 Ashbrook, Author: Ma makers, Activists Rally for Abortion Kvue.com. October 01, 2021. Acce www.kvue.com/article/news/politi tice-austin-texas-state-capitol/2 5b8ce5a7aa09. 2 “Four-day ‘March for Culminates with Saturday Rally at August 01, 2021. Accessed Decem dallasnews.com/news/politics/20 democracy-and-voting-rights-cu the-texas-capitol/.

50,000 people attended Womens March, Saturday, Jan. 20, 2018

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tol

d at the Texas State 2, 2021, in reaction which restricts aborf pregnancy, which ven finds out she’s y, speakers from k the podium to stories, experiences, ot just about convert’s about getting out can be real change. u Greene, shared, e battled for this o control our bodies oud to stand with my reaffirm our commitwomen’s rights.’”1 crowd of seveal the Texas state eting a 27-mile long town to Austin, detion on voting rights

SUNSET

SUNRISE

aeve. “Women’s March ATX: Lawn Rights at Texas State Capitol.” essed December 15, 2021. https:// ics/womens-march-abortion-jus269-5f7d0737-dcd0-446f-8eb9-

r Democracy’ and Voting Rights t the Texas Capitol.” Dallas News. mber 15, 2021. https://www. 021/07/31/four-day-march-forulminates-with-saturday-rally-at-

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Topical Investigations This section is research focused to explain qualitative and quantitative, technical and human centered needs in the space. The following information will guide design decisions on how to incorporate the various topics into the design.

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Immersive Design Exhibitions are a category of experiential design. It is a hybrid of storytelling and environment; often found in museums and art galleries. Immersive design is a full body experience, being pulled into another universe and losing your sense of self in the process. You are part of the art. You don’t watch; you experience as you step in and touch. ‘immersive culture’ is a force that is all around the audience, and even ‘goes through’ the audience.”1 It acts as a fourth wall, enveloping the viewer, engaging with sight, touch and smell. Immersive design activates all of your senses and captures your full attention. It can be easy to forget what type of building or city you are in when in an immersive exhibit. “Experiential exhibits are based on a backbone of interactivity”2 and transports the audience beyond the built environment to allow you to interact with things and others. Designers of immersive spaces should treat the users as active participants, not passive viewers.

The Entry How can you introduce the exhbition? The entrance should be designed so that it intrigues and captivates the viewers enough to enter and explore through the use of storytelling techniques. The entrance should suggest something bigger is to come.

1 “Achieving Immersive Exhibition Design.” IIAD. November 10, 2017. Accessed November 20, 2021. https://www.iiad.edu.in/ the-circle/achieving-immersive-exhibition-design/. 2 Desai, Amish. “Design, Content, and Experience Converge to Make Immersive Exhibits Soar.” Medium. May 19, 2019. Accessed November 20, 2021. https://uxdesign.cc/design-content-and-experience-converge-to-make-immersive-exhibits-soar-e1aed93cb4c7.

Engagement: Once Inside Once viewers are inside, the exhibit should be captivating and inviting. Engage as many of the senses as possible. Varying needs of the targeted audience should be considered in order to make everyone feel welcomed once they enter. What do you want the audience to remember? There are the ‘skimmers’- those who want a cursory jaunt through the exhibit. The swimmers are those who will engage selectively, and divers will engage in great detail.1 “When an exhibit is immersive, it allows viewers to attach personal meanings to it, and by default, they form a connection with the work.”1 The designer should be selective in the information they put out- an overload of information can bore, overwhelm, or frustrate the viewer. White space (the portions that are left untouched) lets us breathe. We are not machines, we’re humans. What elements could produce stress? Be selective and intentional with your content. 1

“How It Works.” CultureConnect. June 02, 2020. Accessed November 20, 2021. https://cultureconnectme.com/how-it-works/.

Interactive Utilizing interactive installations allow visitors to participate in the exhibit in a hands- and minds-on way and learn by doing. This is a great technique to captivate the audience. These can be small or large, and can be displayed in any media format. Often created with a projection or a screen.

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Virtual Reality To be considered VR, participants need to be fully immersed in an alternate reality and usually need to wear a headset to achieve this.

Augumented Reality Augmented reality is used when you want to add to an existing environment. Participants see the room they’re in while experiencing some altered form of reality a digital overlay to their environment. This tends to be animation heavy.

Video Installations Content heavy, easily configurable Video mapping is an image that adapts to any surface. Which exhibition elements would work best as a screen based or audio experience, and which elements would work best as part of the physical display.

Video Mapping element of surprise. adapt to any surface. Ideal when working with buildings or a custom stage. Video mapping can be interactive, and is usually animation heavy.

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Multi-Sensory Design By opening up to multiple sensory dimensions, designers reach a greater diversity of users. Multisensory design acknowledges that people experience and react to space. Sensory design is effective in that it allows us to be more connected with space due to its direct correlation with memory. If something is memorable, that means it has resonated with us on an emotional basis. “We intake information through our senses, creating awareness. The more senses we engage, the more strongly we are tied to a moment, an object, a space.”1 Reflection and education are the main goals of this space and can be achieved if this creates a memorable experience. The senses move us through space. “The eye or ear is not a fixed camera or a -microphone wired to a wall; our sense organs are connected to a head that turns, arms that reach, and bodies that wander and seek”2

1 OGara, Mindy, et al. “How Engaging the Senses Creates Meaningful Design.” Human Spaces, 7 Nov. 2019, blog. interface.com/how-engaging-the-senses-creates-meaningful-design/. 2 Lupton, Ellen. “Why Sensory Design?: Cooper Hewitt, Smithsonian Design Museum.” Cooper Hewitt Smithsonian Design Museum. December 17, 2020. Accessed November 22, 2021. https://www.cooperhewitt.org/2018/04/03/why-sensory-design/.

Haptic- Contact Stimuli Active Touch Surface temperature Roughness or softness Hardness or softness Contour identity Vibration

Haptic stimuli is the science of sensing through touch. Touch is to convince and concretize the experience in order for the user to feel the experience. Haptic feedback helps you understand, feel and relate to the environment. 1 By making things interactive, the user is able to touch objects such as maps that can be touched, a spoken presentation, visual guides, or written information. Haptic Technology uses touchscreen interfaces: direct information transfer between display and the fingertip.2 This is known as surface haptics which makes surfaces come to life.

1 Sachidanand, Rishab. “Elements of a True Immersive Experience: Comparing Altered Reality Technologies.” Medium. November 20, 2019. Accessed December 05, 2021. https://uxplanet.org/elements-of-a-true-immersive-experience-comparing-altered-reality-technologies-c38fec9a5461. 2 “Surface Haptics: Feedback Technology for Tactile Screens.” HAP2U. Accessed November 24, 2021. https://www.hap2u.net/haptic-technology/.

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Materials

materials for durability and maintence, are they by code what is it we need to know before i select them materials should embrace and envelop the body with tactile materials and forms Organic materials, such as wood and wool carpeting, can harbor insects and molds; weathered material, such as old barn wood, although appealing for its aesthetic qualities can also produce dirt and dust; wood and synthetic materials can off-gas “Using soft and malleable materials or interactive devices can be a good way to improve the relationship between the body and the built environment.”1

1 Brasil, Equipe. “Sensory Design: Architecture for a Full Spectrum of Senses.” ArchDaily. October 07, 2021. Accessed November 23, 2021. https://www.archdaily.com/969493/sensory-design-architecture-for-a-full-spectrum-of-senses.

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Skin- Contact Stimuli Passive Touch

Thermal Needs Inside the exhibit, the two main thermal needs are the preservation of works of art and the comfort of visitors. The container must be able to withstand different climates acorss the country inside and out.

Ventilation Shipping containers are designed to be inherently airtight so they can’t be exposed to corrosive saltwater when traveling across the ocean.1 This is a prroblem however when being used as buildings. Buildings require ventilation: the movement of external air to enter inside the container. However, too much ventilation can be difficult to maintain a consistent indoor temperature. Failure to insulate shipping containers can result in dampness, mold, or condensation which can lead to rust. Any ventilation issue is enhanced due to the small space. Dampness can lead to unpleasant odors and mold. If storing valuable equipment or technology, humidity and extreme temperatures can impact their integrity. Keep the temperature inside stable and keep humidity out. According to Museum Victoria in Australia, temperature and relative humidity guidelines for acceptable storage and display conditions of general collection material are:

Passive Ventilation Passive vents can promote basic airflow without a power connection, however, may not be as effective to prevent mold in tropical climates and may need an HVAC system.1 They don’t create enough airflow to prevent mold or rust during longterm storage

Air movement Temperature Radiation Humidity

Temperature – between 15–25°C with allowable fluctuations of +/-4°C per 24 hr. Relative Humidity – between 4555% with an allowable fluctuation of +/- 5% per 24 hr.2

1 “How and Why to Ventilate a Container Home.” Discover Containers. December 21, 2019. Accessed November 24, 2021. https://www.discovercontainers.com/how-should-you-ventilateyour-shipping-container-home/. 2 “Exhibition Basics.” Museums Victoria. Accessed November 25, 2021. https://museumsvictoria.com.au/learning/ small-object-big-story/5-exhibition-basics/.

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1 Morin, Marissa. “Shipping Container Air Conditioning, Heating, and Ventilation.” Custom Shipping Containers for Business. Accessed November 25, 2021. https://www.falconstructures. com/blog/shipping-container-heating-cooling.

Mechanical Ventilation In order to have a wall mounted HVAC unit, there must be a solar power. What is the energy load? How much power will you need per container? Solar panels tilted at an angle towards the south. The further north or south you go from the equator, the greater the pitch of the panel.1 What is the electrical supply to the space? amps? outlet locations?

2 “Installing Solar Panels on a Shipping Container Structure.” NATiVE Solar. August 05, 2019. Accessed November 26, 2021. https://nativesolar.com/installing-solar-panels-on-a-shipping-container-structure/.

Insulation

Metal is a great conductor of heat and cold. Cold outdoor temperatures can turn the metal cold and make the interior feel like an icebox. Whereas, hot summer sun that hits the steel can radiate into the interior and make it hot and humid. As a mobile structue, it must be able to withstand different climates, must be thin profile and lightweight. To make the interior comfortable, safe, and dry. The insulation you choose is dependant on what you are storing. Styrofoam panels Styrofoam panels are ideal when storing non-heat producing assets. Their set up is fast and easy; they are glued directly to the interior walls. Batt insulation Batt insulation is finely woven fiberglass, mineral wool, or plastic. Positive: cost effective

Spray foam insulation Glued to the interior walls

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Smell- Inhaled Stimuli

Vision- Distant Stimuli

Resinous Ethereal Pungent Burned Floral Spicy Minty

Color Shade and Shadow Space Motion

When choosing color, consider the physical space, the lighting, the visitor’s path, and most importantly, the artifacts.1 Must understand how color affects the average person and your target audience. Color can be used to create a subconsious message to the viewer. What emotions do you want your project to promote? What are colors that communicate your message? People with color blindness see red and green or blue and yellow as similar hues2

Smells added to an exhibit creates a more comprehensive experience and an environment where users can truly imagine what it’s like to be there. Imagine fresh baked bread in a 50’s kitchen display or the earthy, musty scent of a jungle. The scents may spark memories, create a feeling of comfort or uneasiness and generate questions and conversations.1 Using smell generators as a safe way to diffuse aromas.

Choose colors so that floors are visually separated from the walls and furniture.3

It is often thought in Western cultue that blue is masculine, pink is feminine, and white is pure. However, not all colors mean the same thing in all contexts, or all cultures. Color is subjective and also contextual and culturally defined. In America, white means purity and virtue such as a wedding gown. In India, widows wear white saris as a sign of mourning, and brides often wear red to signify prosperity and fertility.4 Color can mean different things based on how it is used.

White Gallery w atmosph visitor th color of t the work ceilings a diffuse li spaces s museum walls hel painting

Black The colo light. Lig exhibit u it often b It works b unillumin small illu as type, etc.). Th features dark bac

1 h ells-blog/2019/6

1 Spence, Charles. “Senses of Place: Architectural Design for the Multisensory Mind.” Cognitive Research: Principles and Implications. September 18, 2020. Accessed November 25, 2021. https://cognitiveresearchjournal.springeropen.com/articles/10.1186/s41235-020-00243-4. 2 Lupton, Ellen. “Why Sensory Design?: Cooper Hewitt, Smithsonian Design Museum.” Cooper Hewitt Smithsonian Design Museum. December 17, 2020. Accessed November 22, 2021. https://www.cooperhewitt.org/2018/04/03/why-sensory-design/. 3 Majewski, Janice. “Smithsonian Guidelines for Accessible Exhibition Design.” Smithsonian Institution. Accessed December 15, 2021. https://www.thc.texas.gov/public/upload/publications/Smithsonian Guidelines for accessible design.pdf. 4 Rits, Susan K. “Color Theory: The Emotional Impact of The Right Colors in Your Design.” General Assembly Blog. February 21, 2020. Accessed November 24, 2021. https://generalassemb.ly/blog/color-theory-emotional-impact-right-colors-design/.

1 “The Sights, The Sounds, The Smells? Using Sensory Effects in a Museum Setting.” Sensoryco. September 23, 2017. Accessed November 25, 2021. https://sensoryco4d.com/using-sensory-effects-in-a-museum-setting/.

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walls create an here that moves the hrough the galleries. The the walls surrounding k has an impact. White and walls also help ight, making interior seem brighter. In art ms, paintings on white lp buyers to visualize the g in their own home.

or black absorbs so much ghting an entire black uses so much light, that becomes impractical. best when used as an nated backdrop for uminated features (such photos, video screens, his lets the illuminated s pop against a dramatic ckground.1

Red Signifies power, passion, energy, strength, excitment. In contrast, it represents anger, danger, warning, defiance, aggression, and pain.

Green Signfies health, freshness, hope, nature, growth, and prosperity while also meaning boredom, envy, stagnation, or sickness. Blue Blue is associated with trust, loyalty, dependability, logic, serenity, and security. In contrast, it signifies coldness, emotionless, unfriendliness, and aloofness.

Orange Signifies courage, confidence, warmth, innovation, friendliness, and energy. However, it also represents frustration, deprivation, sluggishness, and ignorance.

Yellow Yellow relates to optimism, warmth, happiness, creativity, and intellect but also is seen as fearful, anxiety, frustration, irrationality, and caution.

https://www.maukdesign.com/mitch6/5/exhibit-design-using-color-to-stand-out

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Purple Purple is the color for wisdom, luxury, wealth, spirituality, and imagination. In contrast, it signifies decadence, suppression, inferiority, or moodiness.

Vision- Distant Stimuli Color Shade and Shadow Space Motion

Projector Lights Used to project signs, patterns, or image.

Lighting

Effective lighting in exhibit design should sufficiently light up objects and paths. Create a lighting narrative that supports the exhibition design and helps to convey the concept. Consider the amount of heat and power the lighting will generate. Hot lamps could be dangerous and and harm the exhibit. If heat is too strong, more air conditioning could be needed. Highlight important circulation pathways. No exhibit should be placed where it is in direct sunlight at any time of the day, this is particularly important for fabric, paintings, drawings, prints, or photographs.1 Any windows should be blocked out or use UV filtering screens. Circulation Provide sufficient light on the circulation route. People with low vision need at minimum 100 lux (10 footcandles) of light to negotiate a clear path that has good color contrast and no obstacles.2Dim lighting promotes quietness and is calming. It can serve to ease the transition from one type of space to another.3

1 “Exhibition Basics.” Museums Victoria. Accessed November 25, 2021. https://museumsvictoria.com.au/learning/small-object-big-story/5-exhibition-basics/. 3 Dean, David. 1994. Museum Exhibition : Theory and Practice London ;: Routledge. https://doi. org/10.4324/9780203039366.

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Fibre Optics Showcases in museums are lit by a bunch of fibre optic cables

Edgelighting Placing a light source parallel to the glass to create a glow around the display

Parcan Highly directional light beam, highlighting a single person or event. Can have flaps in front called “barn doors” for focusing and shaping the light beam. Power hungry.

Backlighting “Glowing” surfaces by lighting a see through material from behind. Soft diffuse flourescent tubes. White gives maximum reflection

Hearing- Distant Stimuli

All audio, visual interpretation requires three components: a player, trigger, and output

Loudness, pitch

Audio

Control effect of ambient noise Is it silent? Is there music? Audio handset should be located on the left of the interactive, with a 1” square button

Player

Open caption- Include open captioning in all audio and video at the bottom, provide printed labels for all audio content

Trigger

Abstract content usually relies more on computers as exhibit elements rather than as supplements to the exhibit content Building audio into a full sized graphic and using a speaker instead of headphones, the effect is very different and allows multiple visitors to enjoy the audio interpretation together

Output

tildonk experience center

An audio exhibit in an interpretive unit (which allows for artifacts and standard signage) consists of a SoundClip-2, a push button, a SingleCup headphone. 1

1 https://www.blackboxav. co.uk/2019/02/22/how-do-i-create-an-audio-exhibit/

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Ergonomics

Sit or Stand?

Allowing the vi encourage tho to truly engage what is the app time for visitor there are more that will extend Stool heights to

Museums have a duty to be inclusive. This is a public space. They are a right to society and social justice, so therefore, should be available to all. This space should be designed to be an accessible experience welcoming to visitors of all abilities. Because exhibition design is a means of communication, it should be physically and intellectually accessible as possible. Accessible design is a right, not a priviledge.

Areas of Resp

If possible, pro visitors to rest Sitting or lying allows visitors reflect on what

Artifacts Use artifacts that back up the main theme. These should be displayed against a simple, high-contrast background (70% contrast between foreground and background) Use touchable artifacts for items essential to the exhibitions main theme Mount objects so they don’t protrude more than 4” so they are cane-detectiible (bottom edge 27”)1 100 lux of light on an artifact. If a sensitive material, use 50 lux Artifacts must not protrude more than 4” from a surface

1 “Universal Design for Museum Learning Experiences: Museum of Science, Boston.” Universal Design for Museum Learning Experiences | Museum of Science, Boston. Accessed November 17, 2021. https://www.mos.org/UniversalDesign.

Visitors in wheelchairs reaching for exhibit components without any obstructions

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pite

ovide quieter spaces for and isolate themselves. g down gives relief and to slow their pace and t is around them .

Proxemics + Crowd Control Proxemics is defined as “the study of human use of space and the effects that population density has on behaviour, communication, and social interaction.” When people walk in a space, they are looking to see visually, whether or not they are going to be constrained in the space. 1 If people feel crowded and uncomfortable, there’s a good chance they’ll leave. An uncomfortably crowded space can lower the quality of visitors’ experience. The exhibit should be open and inviting, not cramped and claustrophobic. People feel more at ease in spaces with free range of movement. Consider methods that facilitate quality interactions and experiences. For instance, take their phone number so they can roam free, and then page them when their turn is approaching Its not just quantity of interactions, its quality. Ensure that people have the time and space to enjoy your experience.

1 Echelonteam. “SPACING OUT: Proxemics and the Art of Being Close Enough.” Echelon Design Inc. June 03, 2020. Accessed December 03, 2021. https://echelondesign.com/2019/08/09/spacing-out-proxemicsand-the-art-of-being-close-enough/.

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Personal distance begins about an arm’s length away, from eighteen inches to four feet. Two to four feet is where most conversation and social interactions happen. Most people feel discomfort, anger, or anxiety when their personal space is encroached. Intimate spaces are zero to eighteen inches. Ceiling heights in homes range from 9’-12’ where we can comfortable lift our arms above our heads. Human scale is important in how we relate to space.

Circulation How will you organize the content? Is the format linear, free-flow, or thematic? Is there a logical order or can visitors feel free to discover and explore for themselves? Viewers should be able to independently discover the exhibition for themselves without being confused. For instance, having a designated and controlled entry and exit point to manage crowds. Or having multiple entry points to allow visitors to explore. Many history exhibitions are in chronological order and follow a timeline. This is a linear path and suggests visitors move in one direction. In a free-flow organization, there is no one way through and visitors can choose their path. 1A thematic is similar to free-flow however, there are zones with main themes. Western visitors tend to follow the right-hand wall of an exhibition whereas Japanese visitors occupy the center of a room.2 Ciculation space between exhibits- leave minimum 60” between exhibit objects3

The single path ensures that all visitors have similar experiences and allows designer to plan out a specific experience.

Traffic Flow Traffic flow is the movement of visitors in the exhibition. Assume that the visitor is here for the first time and are unknowledgable on the subject matter- they are just interested in it. Assume that visitors arrive with limited time to devote to the exhibit. “Assume that most are “strollers” who have the potential to pay attention, become more engaged because you were able to provide meaningful experiences (benefits) for the effort (cost) required”4 Suggested routes do not force visitors to take them. We shouldn’t tell people where to go, we should allow them to make their own decisons to make intelligent choices about where to spend their time. 1 “Exhibition Planning Guide.” Museum On Main Street. Accessed December 9, 2021. https://www.humanitieskansas.org/doccenter/45b34b156b5c4e61ab875352a18c3513. 2 Hughes, Philip. Exhibition Design: an Introduction. Laurence King Publishing, 2015, pg 100 3 “Universal Design for Museum Learning Experiences: Museum of Science, Boston.” Universal Design for Museum Learning Experiences | Museum of Science, Boston. Accessed November 17, 2021. https://www.mos.org/UniversalDesign. 4 Serrell, Beverly. “Some Thoughts on Visitor Exhibition Patterns.” American Alliance of Museums, 12 Apr. 2018, https://www. aam-us.org/2017/11/01/some-thoughts-on-visitor-exhibition-patterns/.

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The multiple path allows greater freedom and provides visitors with the possibility of following their own interests. Requires more signage and wayfinding

Wayfinding The visitor comes first. Visitors often have a lot of questions in the back of their head such as “where should I go? What do I do here? How does this work? What’s it about?” Feeling lost is not an option for visitors. Use all the cues at your disposal to communicate where the entrance is located, e.g., signs, arrows, visitor service people, maps, stanchions, walls, banners, floor treatments, lighting. Wayfinding signage can vary greatly by project. It helps visitors navigate the physical space. It can be as simple as an arrow. Creating signages and labels in different languages could help communicate better1 Storytelling- to provide a content-rich and engaging environment. Wayfinding signage should “weave the guest experience into a narrative story to shape a memorable experience.”2 Informational support connects space with story. Overall, visitors should be able to use an exhibition briefly, out of sequence, and incompletely and still get a sense of what it’s about.

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code Small assembly soaces less than 50 people each Classification: 304.1 Business Group B “includes, among others, the use of a building or structure, or a portion thereof, for office, professional, service-type transac-tions, or for conducting public or civic services”

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Schematic Design

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MATERIAL STUDIES

STRATEGY 1 ASPHYXIATION, TENSION I began by looking at the idea of tension and asphyxiationthe idea of something attempting to escape but constrained and suffocated by a greater force.

Paper Mache

Textile Fabric

STRATEGY 2 WAR ON THE WOMB: CONTROLLING THE REPRODUCTIVE BODY The womb is a hybrid of artificial/ air and textile. Textiles, silicone, bioplastics, paper mache, tights, and plastic table cloths material studies. Play between synthetic and impersonal, and soft, organic, natual processes.

STRATEGY 3 THE OBJECTIFICATION ROOM Women are reduced to their body parts. These model studies show the body in pieces, seperated from yourself as a whole, dissembodiment, and dissection.

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Disto yours slicin

Sheer Tights

Bioplastics

Plastic Sheeting

ortion, void, no sense of self or your surroundings, ng body parts

Function: Feel small, vulnerable, exposed, being looked at, no where to hide, in open signt, inescapability Constant feeling/gaze

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Preliminary Design

Overall Containers

War on the Womb

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209

Floorplan Not To Scale

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Sequence Diagram

PEDESTRIANS

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QR CODETICKETS $2

WAIT

TEXT NOTIFICATION

DOOR ACCESS CONTROL SYSTEM

Longitudinal Section Not To Scale

Womb spills out of the container- helps to draw people in from the outside

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Tension between two exhibitions - hosts conversation and expressiveness

Containers sit on point foundationsconcrete blocks

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Exterior Perspective

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THE OBJECTIFICATION ROOM

Preliminary Material Studies

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Architecture making you feel uneasy, controlled, claustrophopic. 4-6 Occupancy Technology Flush mount, hidden camera programmed by an image recognition algorithm Materiality Blackened Steel wallstactility, cold, hard, jarring. Concrete Floorsmonolithic, greyscale to create a backdrop for the body parts in color Scale: can’t escape the weight, scale amplified it

Herbert Bayer

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Facial Aspects

Mid/Torso

Monitor - Body Connection

Monitor - Camera Connection

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Lower Part of Body

Monitor - Body Connection Screens are programmed for a specific body part Monitor - Camera Connection A series of cameras at different locations in the space Interior/Exterior Connection The forum becomes a window into the spacean experience from within and an experience from without. Feeling exposed from the inescapability of the gaze. Object/subject. Viewer/Viewed. A space for public consumption

Interior/Exterior Connection

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Forum as Transition Space

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WAR ON THE WOMB: CONTROLLING THE REPRODUCTIVE BODY

Preliminary Studies

Public

Womb Exploaded Axon

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A womb form lies in the center connecting two containers. This diagram highlights the three main experiences of the womb The womb is a hybrid of synthetic/plastic and natural/textile Progression of materialmaterial of womb increases in thickness and density. Artificial and

Private

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A. POLICY

Policy Section Not to Scale

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Audio-Visual Installation Users are immersed in an exhaustive and overstimulating audio-visual soundscape and projection of lawmakers, data, tweets, and timelines. A brief review of key legislation and court decisions on abortion throughout the U.S. Reflected Ceiling Plan Rigidity of floor and ceiling reinforces formal and orderly. Formality of the process of the law. Abstract representation of the supreme court Lighting Dark, silence of the blackness. Linear, florescent, industrialized lighting represents underground, blackmarket, illegal abortions that women are forced into -Lighting emitted from projections -Glowing red lighting emitting onto womb portrays it as angry and unsettling

Reflected Ceiling Plan

TRILUX GmbH & Co. KG, TX So Tube H2

Audio-Video Installation

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A. POLICY

Policy Womb Detail Axon

Preliminary Material Studies

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Materiality Perforated Metal drop down ceiling hides speakers. PETE plastic sheeting Hard materials Color Theory The color black is known for power. The goal was to create a voided, sterile external space or abstract representation of the Supreme Court. Artificial Womb Work with a custom metal fabricator. Metal framework connects to exterior container and detaches for transport. Requires 2-3 people to handle. Stored in storage container.

Policy Womb Detail Elevation

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B. THRESHOLD

THRESHOLD ELEVATION - UNOPENED

THRESHOLD ELEVATION - OPEN

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Technology Follows mattress technology- Pocketed Coils that respond to soft pressure

Mattress Technology

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C. SENSORY

Preliminary Material Studies

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Materiality -Thicker/more dense at parts -Fetus is cushioned by amniotic fluid in the wombcushioned from jostling or impact -Foam allows structure to completely mold to the body -Tactile, sensory, texture,can touch Would work in collaboration with a textile designer to Textile Properties: Durablility, fire protection, flexibility, cleanability, acoustically sound Audio The womb is awash in sounds. Ceiling and floor mounted surround sound. An underwater, mystical soundscape as if submerged in another world. Audio embedded in textilerumblings of the stomach, blood flow, and heartbeat. Lighting Colored gel filters Discrete uplighting, downlighting

Lennart Nilsson- A Child Is Born

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C. SENSORY

Standing Nook Axon

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Sitting Axon

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D. VOICES

Axonometric

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Materiality Ribbed acoustic paneling Gloss reflects image of wombseeing it as a spectacle Technology Autoplay SingleCup headphones with magnetic hanger- built in magnet switch One ear headphone Output Armored Cable – 3.5mm Jack- A 8mm thick, 1.35m long, stainless steel armored conduit protects the internal audio cable Can be mounted through any surface Equally spaced - 3’ for comfortable social distance Heights 3 different heights- Sense of discovery, exploration, and curiosity Lighting Natural, bright lighting brings you back to reality- creates a more humane and raw environment.

Section

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FORUM

Exit into Forum

Gathering

Speaker

Forum Function Diagrams

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Philadelphia Organizations Womens way Women in transition Curative Performers Marina Abramović- serbian performer that expires body art, endurance art and feminist art Marketing/Wayfinding Exterior container colors and text fun, bright, playful as form of wayfinding and lures people in- element of curiosity.

Wayfinding Signage

Platform

Side Panel

Platform Work with custom fabricator to create specialized platform shape. 8’x12’ modular, heightadjustable platforms Set up by 2 people

Leg Assembly

Scale The stacked containers create verticale circulation and contain the forum as if a town square. Height adds visibility and presence in the community.

Platform Detail

Public Furniture Cubes: 1’6” x 1’6” x 1’6” Modular seating allows for flexibility and a variety of configurations for easy conversation

Performer

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Conclusion This opportunity allows me to fuse my passion for design with my passion and anger for women’s inequality. These issues are nothing new. The division of men and women through gender roles, reproductive rights, etc, can be traced before the 1600’s. “Control over sexual and reproductive choices often ends up in the hands of others – husbands, in-laws, family members or religious groups”This book analyzes the deep history of these issues and the spaces and interiors that have contributed to our conditioning. How can design play a role in this conversation? This platform will particiapte in protests or events across the country in response to women’s rights and female agency in hopes of educating and empowering those that come in its tracks.

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Bibliography Section 1 "Clinics in Jeopardy." The New York Times. June 26, 2013. Accessed December 15, 2021. https://archive.nytimes. com/www.nytimes.com/interactive/2013/06/26/us/politics/clinics-in-jeopardy.html. "The Sexual Revolution of the 1960s - Google Arts & Culture." Google. Accessed October 13, 2021. https:// artsandculture.google.com/usergallery/the-sexual-revolution-of-the-1960s/HwIS5sVpRrcGLA. Allymatsoso. “The Shame of the Kitchen: A Short History of a Woman’s Place.” The Philosophy of Motherhood. May 11, 2019. Accessed November 23, 2021. https://philosophyofmotherhood.wordpress.com/2019/11/06/the-shame-of-thekitchen-a-short-history-of-a-womans-place/. Alter, Charlotte. “Planned Parenthood at 100: Birth Control Changed Everything.” Time. October 14, 2016. Accessed November 05, 2021. https://time.com/4527330/planned-parenthood-100-history/. Blakemore, Erin. “The Criminalization of Abortion Began as a Business Tactic.” History.com. January 22, 2018. Accessed November 16, 2021. https://www.history.com/news/the-criminalization-of-abortion-began-as-a-business-tactic. Buckley, Cheryl. “Made in Patriarchy: Toward a Feminist Analysis of Women and Design.” Design Issues 3, no. 2 (1986): 3–14. https://doi.org/10.2307/1511480. Charytonowicz J., Latala D. (2011) Evolution of Domestic Kitchen. In: Stephanidis C. (eds) Universal Access in Human-Computer Interaction. Context Diversity. UAHCI 2011, vol 6767. Springer, Berlin, Heidelberg. https://doi.org/10.1007/9783-642-21666-4_38 Collins, Glenn. “Patriarchy: Is It Invention or Inevitable?” The New York Times. April 28, 1986. Accessed September 02, 2021. https://www.nytimes.com/1986/04/28/style/patriarchy-is-it-invention-or-inevitable.html. Danielson, Stentor. “Gender and Sexuality.” Overview of Human Geography: Gender and Sexuality. Accessed September 06, 2021. http://debitage.net/humangeography/gender.html. Dimitri B September 26th. “How Pornography Impacts Violence Against Women and Child Sex Abuse.” Focus for Health. July 08, 2020. Accessed December 15, 2021. https://www.focusforhealth.org/how-pornography-impacts-violenceagainst-women-and-child-sex-abuse/. Gettelman, Elizabeth, and Mark Murrmann. "The Enemy in Your Pants." Mother Jones. May 29, 2010. Accessed October 21, 2021. https://www.motherjones.com/media/2010/05/us-military-std-posters/. Gold, Rachel Benson. “Lessons from Before Roe: Will Past Be Prologue?” Guttmacher Institute. September 14, 2018. Accessed December 14, 2021. https://www.guttmacher.org/gpr/2003/03/lessons-roe-will-past-be-prologue. Gonzales, Jocelyn. “Behind ‘Behind the Sheet’.” The World from PRX. 2019. Accessed November 16, 2021. https:// theworld.org/stories/2019-01-31/behind-behind-sheet. Hayden, Dolores. “What Would a Non-Sexist City Be Like? Speculations on Housing, Urban Design, and Human Work.” Signs 5, no. 3 (1980): S170-187. Accessed September 7, 2021. http://www.jstor.org/stable/3173814. https://americanhistory.si.edu/america-on-the-move/city-and-suburb Jacob Phillips • Joseph Phillips. “How the Normalization of Pornography Fuels the Rape Culture.” The Gospel Coalition. November 26, 2014. Accessed December 15, 2021. https://www.thegospelcoalition.org/article/how-the-normalizationof-pornography-fuels-the-rape-culture/. Kelley, Rich. “A Note on the Scientific & Historical Context of BEHIND THE SHEET.” Ensemble Studio Theatre. February 14, 2019. Accessed November 16, 2021. https://www.ensemblestudiotheatre.org/est-blog-1/2019/1/9/a-note-on-the-scientificamp-historical-context-of-behind-the-sheet. Minium, Alice. “The Untold Story of American Eugenics.” Medium. June 05, 2018. Accessed October 21, 2021. https://medium.com/@aliceminium/the-feebleminded-woman-a-brief-history-of-eugenics-in-1920s-america8a198d1b6e40. Minkowsli, William L. “Women Healers of the Middle Ages: Selected Aspects of Their History.” February 1992. Accessed December 13, 2021. https://ajph.aphapublications.org/doi/pdf/10.2105/AJPH.82.2.288. MOLYNEUX, MAXINE, and ADRIJA DEY. “New Feminist Activism, Waves, and Generations.” UN Women. 2021. Accessed December 10, 2021. https://www.unwomen.org/sites/default/files/Headquarters/Attachments/Sections/Library/Publications/2021/Discussion-paper-New-feminist-activism-waves-and-generations-en.pdf. Moore, Kate. “The American History of Silencing Women Through Psychiatry.” Time. June 22, 2021. Accessed December 14, 2021. https://time.com/6074783/psychiatry-history-women-mental-health/. Nimura, Janice P. “Why ‘Unwell Women’ Have Gone Misdiagnosed for Centuries.” The New York Times. June 08, 2021. Accessed December 13, 2021. https://www.nytimes.com/2021/06/08/books/review/unwell-women-elinor-cleghorn.html. Olito, Frank. “Then and Now: How Bedrooms Have Changed throughout the Years.” Insider, Insider, 26 June 2019, www.insider.com/bedroom-design-through-the-years-2019-6#in-the-40s-and-50s-some-couples-opted-to-sleep-in-separate-twin-beds-next-to-each-other-6. Omvedt, Gail. “‘Patriarchy:’ The Analysis of Women’s Oppression.” Insurgent Sociologist 13, no. 3 (April 1986): 30–50. https://doi.org/10.1177/089692058601300305.

O’Neill, Therese. “How Birth Control Became Everybody’s Business.” The Week. January 08, 2015. Accessed November 18, 2021. https://theweek.com/articles/458698/how-birth-control-became-everybodys-business. Parker, Kim, and Ruth Igielnik. “What We Know About Gen Z So Far.” Pew Research Center’s Social & Demographic Trends Project. July 14, 2021. Accessed December 10, 2021. https://www.pewresearch.org/ social-trends/2020/05/14/on-the-cusp-of-adulthood-and-facing-an-uncertain-future-what-we-knowabout-gen-z-so-far-2/. Peterson, Anna. “From Commonplace to Controversial: The History of Abortion.” Origins. November 2012. Accessed October 25, 2021. https://origins.osu.edu/article/commonplace-controversial-different-histories-abortion-europe-and-united-states.

Rendell, Jane, Barbara Penner, and Iain Borden. Gender Space Architecture. London: Routledge, 2000. Solinger, Rickie. Reproductive Politics: What Everyone Needs to Know. Oxford: Oxford Univ. Press, 2013. Stern, Ricki, and Anne Sundberg. 2018. Reversing Roe. United States: Netflix. Totenberg, Nina. “Supreme Court Considers Whether to Reverse Roe v. Wade.” NPR. December 01, 2021. Accessed December 15, 2021. https://www.npr.org/2021/12/01/1056950304/supreme-court-abortion-roe-vwade-historic-arguments. Tyson, Khadija. “The Social Purity Movement.” Gender and Sexuality Throughout World History. December 03, 2020. Accessed September 05, 2021. https://librarypartnerspress.pressbooks.pub/gendersexuality3e/ chapter/the-social-purity-movement/. “A Timeline of Contraception.” PBS. 1996-2021. Accessed September 05, 2021. https://www.pbs.org/ wgbh/americanexperience/features/pill-timeline/. “Women’s Work and Sex Work in Nineteenth-Century America.” PBS. Accessed November 18, 2021. http://www.pbs.org/mercy-street/blogs/mercy-street-revealed/womens-work-and-sex-work-in-nineteenthcentury-america/.

Section 2 Aclair. "Designing Motherhood: Things That Make and Break Our Births - GRANT." The Pew Center for Arts & Heritage. September 07, 2021. Accessed September 30, 2021. https://www.pewcenterarts.org/grant/designing-motherhood-things-make-and-break-our-births. Entertainment, The Magazine for Architectural. “F-Architecture and the Hymen Industrial Complex.” PIN. Accessed September 20, 2021. https://pinupmagazine.org/articles/f-architecture-interview-feminist-architecture-hymenoplasty. “Feminist Architecture Collaborative (f-architecture).” The Architectural League of New York. July 23, 2019. Accessed September 18, 2021. https://archleague.org/feminist-architecture-collaborative-f-architecture/. https://archleague.org/article/inventing-f-architecture/ Muthulingam, Dharushana. "A New Exhibition in Philadelphia Examines the Hidden Histories of Reproduction." Vogue. August 03, 2021. Accessed October 01, 2021. https://www.vogue.com/article/designing-motherhood-exhibition-mutter-museum. Parsa, Pantea. "MFA Thesis." Pantea Parsa. Accessed October 01, 2021. https://www.panteaparsa.com/ mfa-thesis. Reiner-Roth, Shane. “Margarete Schütte-Lihotzky Invented the Modern Kitchen.” Archinect, 8 May 2019, archinect.com/news/article/150135578/margarete-sch-tte-lihotzky-invented-the-modern-kitchen. Smith, Robert. “A Kitchen Revolution Aimed at Freeing Women.” NPR, NPR, 18 Sept. 2010, www.npr.org/ templates/story/story.php?storyId=129935115. Vlachopoulou, Natalia. "My Boudoir." Natalia Vlachopoulou. Accessed October 01, 2021. https://www. nataliavl.com/boudoir01.

Section 3 “A GUIDE TO EXHIBIT DEVELOPMENT.” Smithsonian Exhibits. September 17, 2021. Accessed November 22, 2021. https://exhibits.si.edu/resources/. Dean, David. 1994. Museum Exhibition : Theory and Practice London ;: Routledge. pg 22. https://doi. org/10.4324/9780203039366. “Exhibition Planning Guide.” Museum On Main Street. Accessed December 9, 2021. https://www. humanitieskansas.org/doccenter/45b34b156b5c4e61ab875352a18c3513. “Museums and Trust 2021.” American Alliance of Museums. October 13, 2021. Accessed December 10, 2021. https://www.aam-us.org/2021/09/30/museums-and-trust-2021/. Walhimer, Mark. “Museum Exhibition Design.” Museum Planner. April 16, 2012. Accessed December 03, 2021. https://www.museumplanner.org/museum-exhibition-design-part-ii/.

Section 4 “Austin, TX.” Data USA. Accessed November 26, 2021. https://datausa.io/profile/geo/austin-tx/#economy. “BoxPark Croydon.” Adaptainer, https://adaptainer.co.uk/container-conversion/boxpark-croydon-pop-up/. Cummings, Sinead. “Check out What’s Happening This Weekend, July 19-21.” PhillyVoice. July 18, 2019. Accessed November 28, 2021. https://www.phillyvoice.com/weekend-events-july-19-21-philadelphia/. Harrouk, Christele. “Public Spaces: Places of Protest, Expression and Social Engagement.” ArchDaily. June 10, 2020. Accessed November 20, 2021. https://www.archdaily.com/941408/public-spaces-places-of-protest-expression-and-social-engagement. https://www.weather.gov/media/ewx/climate/ClimateSummary-ewx-Austin.pdf Parameters of Sea Containers.” SeaRates. Accessed December 07, 2021. https://www.searates.com/reference/container/40-foot-standard. “Mobile Museums.” Public Art Lab. Accessed November 02, 2021. http://www.publicartlab-berlin.de/projects-2/ public-art/mobile-museums/. “Philadelphia, PA.” Data USA. Accessed November 26, 2021. https://datausa.io/profile/geo/philadelphia-pa/. “Temperate Climate.” Temperate Climate - an Overview | ScienceDirect Topics. Accessed December 16, 2021. https://www.sciencedirect.com/topics/earth-and-planetary-sciences/temperate-climate. “The Purpose and Power of Protest.” Anti-Defamation League. Accessed November 20, 2021. https://www.adl.org/ education/resources/tools-and-strategies/the-purpose-and-power-of-protest.

Section 5 Brasil, Equipe. “Sensory Design: Architecture for a Full Spectrum of Senses.” ArchDaily. October 07, 2021. Accessed November 23, 2021. https://www.archdaily.com/969493/sensory-design-architecture-for-a-full-spectrum-of-senses. Dean, David. 1994. Museum Exhibition : Theory and Practice London ;: Routledge. https://doi. org/10.4324/9780203039366. Desai, Amish. “Design, Content, and Experience Converge to Make Immersive Exhibits Soar.” Medium. May 19, 2019. Accessed November 20, 2021. https://uxdesign.cc/design-content-and-experience-converge-to-make-immersive-exhibits-soar-e1aed93cb4c7. Echelonteam. “SPACING O=UT: Proxemics and the Art of Being Close Enough.” Echelon Design Inc. June 03, 2020. Accessed December 03, 2021. https://echelondesign.com/2019/08/09/spacing-out-proxemics-and-the-art-of-being-closeenough/. https://rsmdesign.com/services/exhibit-design https://www.blackboxav.co.uk/2019/02/22/how-do-i-create-an-audio-exhibit/ https://www.maukdesign.com/mitchells-blog/2019/6/5/exhibit-design-using-color-to-stand-out Hughes, Philip. Exhibition Design: an Introduction. Laurence King Publishing, 2015, pg 100 Lupton, Ellen. “Why Sensory Design?: Cooper Hewitt, Smithsonian Design Museum.” Cooper Hewitt Smithsonian Design Museum. December 17, 2020. Accessed November 22, 2021. https://www.cooperhewitt.org/2018/04/03/why-sensory-design/. Lupton, Ellen. “Why Sensory Design?: Cooper Hewitt, Smithsonian Design Museum.” Cooper Hewitt Smithsonian Design Museum. December 17, 2020. Accessed November 22, 2021. https://www.cooperhewitt.org/2018/04/03/why-sensory-design/. Majewski, Janice. “Smithsonian Guidelines for Accessible Exhibition Design.” Smithsonian Institution. Accessed December 15, 2021. https://www.thc.texas.gov/public/upload/publications/Smithsonian Guidelines for accessible design.pdf. Morin, Marissa. “Shipping Container Air Conditioning, Heating, and Ventilation.” Custom Shipping Containers for Business. Accessed November 25, 2021. https://www.falconstructures.com/blog/shipping-container-heating-cooling. OGara, Mindy, et al. “How Engaging the Senses Creates Meaningful Design.” Human Spaces, 7 Nov. 2019, blog. interface.com/how-engaging-the-senses-creates-meaningful-design/. Rits, Susan K. “Color Theory: The Emotional Impact of The Right Colors in Your Design.” General Assembly Blog. February 21, 2020. Accessed November 24, 2021. https://generalassemb.ly/blog/color-theory-emotional-impact-right-colors-design/. Sachidanand, Rishab. “Elements of a True Immersive Experience: Comparing Altered Reality Technologies.” Medium. November 20, 2019. Accessed December 05, 2021. https://uxplanet.org/elements-of-a-true-immersive-experience-comparing-altered-reality-technologies-c38fec9a5461. Serrell, Beverly. “Some Thoughts on Visitor Exhibition Patterns.” American Alliance of Museums, 12 Apr. 2018, https:// www.aam-us.org/2017/11/01/some-thoughts-on-visitor-exhibition-patterns/. Spence, Charles. “Senses of Place: Architectural Design for the Multisensory Mind.” Cognitive Research: Principles and Implications. September 18, 2020. Accessed November 25, 2021. https://cognitiveresearchjournal.springeropen.com/ articles/10.1186/s41235-020-00243-4. “Achieving Immersive Exhibition Design.” IIAD. November 10, 2017. Accessed November 20, 2021. https://www.iiad. edu.in/the-circle/achieving-immersive-exhibition-design/. “Achieving Immersive Exhibition Design.” IIAD. November 10, 2017. Accessed November 20, 2021. https://www.iiad. edu.in/the-circle/achieving-immersive-exhibition-design/.

“Exhibition Basics.” Museums Victoria. Accessed November 25, 2021. https://museumsvictoria.com.au/learning/ small-object-big-story/5-exhibition-basics/. “Exhibition Basics.” Museums Victoria. Accessed November 25, 2021. https://museumsvictoria.com.au/learning/ small-object-big-story/5-exhibition-basics/. “Exhibition Planning Guide.” Museum On Main Street. Accessed December 9, 2021. https://www.humanitieskansas. org/doccenter/45b34b156b5c4e61ab875352a18c3513. “How and Why to Ventilate a Container Home.” Discover Containers. December 21, 2019. Accessed November 24, 2021. https://www.discovercontainers.com/how-should-you-ventilate-your-shipping-container-home/. “How It Works.” CultureConnect. June 02, 2020. Accessed November 20, 2021. https://cultureconnectme.com/ how-it-works/. “Installing Solar Panels on a Shipping Container Structure.” NATiVE Solar. August 05, 2019. Accessed November 26, 2021. https://nativesolar.com/installing-solar-panels-on-a-shipping-container-structure/. “Surface Haptics: Feedback Technology for Tactile Screens.” HAP2U. Accessed November 24, 2021. https://www. hap2u.net/haptic-technology/. “The Sights, The Sounds, The Smells? Using Sensory Effects in a Museum Setting.” Sensoryco. September 23, 2017. Accessed November 25, 2021. https://sensoryco4d.com/using-sensory-effects-in-a-museum-setting/. “Universal Design for Museum Learning Experiences: Museum of Science, Boston.” Universal Design for Museum Learning Experiences | Museum of Science, Boston. Accessed November 17, 2021. https://www.mos.org/UniversalDesign. “Universal Design for Museum Learning Experiences: Museum of Science, Boston.” Universal Design for Museum Learning Experiences | Museum of Science, Boston. Accessed November 17, 2021. https://www.mos.org/UniversalDesign.

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Appendix #1 Transcriptions

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Program

Program Diagram This diagram identifies the pieces within the exhibition, mapping the users journey. For now, the diagram ignores spatial configuration and acknowledging the specific spaces that will inhabit these containers.

The program consists of four main sections or “main exhibits” that b the big idea. These will be a comb of immersive, educational, and in experiences.

20’

10’

16’

8’

Check-In

Wait

Intro

Window into the Womb

In Sp

This partially enclosed kiosk holds check-in tablets for user to sign their name and access the exhibit on their phone via a QR code.

Users can return to the protest or event while waiting for their turn. This helps the occupancy load thorughout the containers within a mass population.

Users first enter into the introduction which will hold the title of the exhibition, statement, and background.

One of the main exhibits, The Womb explores the control and invasion of the womb through built space. This immersive experience will position the user as if they were inside of the living organ, looking out.

The spa ext wit an pre upc pro res

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n subback up bination nteractive

20’

n-Between pace

ese “ecotone” like aces incorporate the terior and landscape th the interior and play important role for eparing the user for the coming exhibit while oviding an area of spite.

8’

Sexual Shame and the Body

Breaking the Conditioning

Forum/Local Organization

This immersive and interactive exhibit puts you in the shoes of a woman looking at the external body that is objectified, manipulated, and controlled. What is it like to have a body that belongs to someone else?

How we can take back our power with this knowledge and break our conditioning? This exhibit looks at embdiment, representation, and those who rebel against the system in music, film, and politics.

These forum spaces collaborate with local organizations and speakers, using voice and building community.

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Name

1 Check-In

Quantity

Approx. Sq. Ft

# of People

1-7

Experience

Outdoor

2 Wait 3 Intro

4 Exhibit 1: The Womb

In-Between Space

6 Sexual Shame and the Body 8 Breaking the Conditioning 9 Forum/Local Organization

640

2-5

2-10

Informative, educational, graphics

Immersive, otherworldly, video mapping, inflatable architecture

2 40’x8’ containers

50-100

2-5

Outdoor pathway that connects two containers, these spaces can ungulate sizes

Interactive, Immersive, otherworldly

2-3

320

160

2-10

Educational, multiple zones, audio, text, video screens, grounding and comfortable containerr

Stage (performers, speakers), or interior spaces (curated by the organization) for the public to occupy

Lighting

Materials/ Acoustics

Technology

Container

Partially enclosed tablet kiosk, QR code, Website features the exhibit

Natural light

Visitors engage with protest and the app notifies when they are next on the wait list, limits the occupany in the exhibit Natural lighting from entry door? Artificial task lighting

Hard surfaces

Dark, artificial lighting, multicolored, changing/ moving, ambient

Soft, acoustically sound, well insulated

Video mapping, projector, tv screens, speakers/headphones

Fabric/material connecting the containers, inflatable?

Tv screens, speakers/ headphones, text

Dark, artifcial lighting

Soft/hard, quiet, insulated,

Interactive screens/walls, tactile, audio, speakers/ headphones

Artificial, natural light, task, track lights, brighter atmosphere

Brighter colors

Audio, headsets/ speaker, interactive walls/objects

Natural lighting, artificial lighting, could be lights or audio that lures them into the next container.

Artificial, natural light, task, track lights

Concert speaker, microphone, projector, screen, foldable stools

Varies

Image

Virginia Black Black: “you are influenced on YOUR time and YOUR location and your position in your own education and your resources and embracing those as a resource as a way of moving forward is actually the most feminist thing you can do because you admit that you are situated..... we’re gonna start with our own experience. We start with this particular moment and we mine that and then we build it out from there. I think finding the scope of your project is to really understand, what can I do from my moment, and how do i see this thing that I’m making now, to contribute to my future trajectory as a future practitioner whos interested in feminism. What are the methods that one can deploy when undertaking a feminist project and how do we understand the dynamics between our selfhood and I mean our as in all people and not just women, and our bodies. How do you test out with some kind of design methodology those relationships and what kind of subject for this protest is gonna help you to test those methods in the most robust way? Why don’t you just do a protest where you are then design some kind of apparatus thats some kind of artifact or object that represents whatever the topic is that you chose. So it’s a event that has a curatorial framework. Like what if you contacted some feminiist organiizations or queer organizations in philadelphia. Go and talk to them and say “I’m working on this...what I’m interested in is designing this kind of artifact that operates with protests all the research that you’ve done is totally incredible because it gives you the knowledge of how to interpret the current moment in relation to history

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Althea Rao Rao: in 2019, the beginning of the process is me discovering the product itself

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252

Appendix #2 Code

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254

255

256

257

258

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