Geoffrey Cheung
Diploma 13



Women have always been associated with the space of service: a hostess in the living room, a cook in the kitchen, a mother in the nursery, a lover in the bedroom etc.  The stereotype of women’s role of “homemaker” and “housewife”; and the gendering of space in the domestic environment has always been problematic.  By creating a dynamic language of ornament that is highly sexualised and gendered, my project tests the syncretic relationships between feminine interior, masculine exterior and ornament; and looks into the possibility of the inversion of gender where textile surface solidifies into a permanent ornamental carapace.  The female realm of decoration, thus transforms into the male realm of structure.  This can be observed on the new rusticated façade, where the masculine exterior has now become a highly decorative textile wall.  Adolf Loos’ Villa Müller, as well as the neighbouring Sir John Soane’s Museum, serve as the starting point for my investigation of the relationship between art and domesticity in my project.


The Porno-Chintz Room is a highly decorated male domain that occupies the centre of the house.Contrasting to the highly decorated male domain, the female realm is a banal, unornate corridor for circulation.The male and female realms operate as a system of gaze. Since the male domain occupies the centre of the house, the male becomes objectified through the gaze from the surrounding female domain.  
With the inversion of gender, textile surface solidifies into a permanent ornamental carapace.The geometry of the bondage pattern changes from organic to more crystalline towards the pavement. The space for displaying the Seven in Bed by Louise Bourgeois. This is where the two-dimensional rope motif transforms into three-dimensional space. The notion of imprisonment and bondaging is manifested spatially. By rereading the neo-classical facade of the neighbouring Sir John Soane's Museum using the weaving Jacquard loom as a textile technique, the resulting ornamental facade becomes a wallpaper for the public space. The private interior and the public exterior relationship is no longer a dichotomy as described by Adolf Loos a century ago.Twenty ornamental plates printed on silk.Re-upholstered chair with sexualised ornamental motifs and perspective drawings printed on silk.