SOCKS, Collective living for the japanese housewife
































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SOCKS, Collective living for the japanese housewife


Eugenie Hanae Bliah
Who influences you graphically?

Dogma, KGDVS, Ungers… and Corb ofcourse!

You use all means of geometric representations, do you trust that only by using all of them you can fully convey the story and narrative of your architecture?

Ideally I would only represent the project through plans. I design mainly in plans and believe one can immediately understand this new type of living I’m introducing through this representation. However, the site is quite specific and I also wanted to clearly show that the four families live under one roof. This had to be some through elevations and axos.

Why the use of non colour in your geometric representations?

I am just interested in the architecture. I let my viewers imagine the colours and the way one would dwell in these spaces.

 How dose the absence of people in your perspectival views reinforce or deny the idea of shared housework?

Objects instead of people are used to represent the use of a room. Also, many of my images should be viewed from the eyes of someone cooking, or walking, or reading a book.
The kitchen has four surfaces with a lot of objects on it. We understand that it is not only one family’s kitchen.


Description: “Cooking food, caring for children, and cleaning house, tasks often of as “woman’s work” to be performed without pay in domestic environments, have always been a major part of the world’s necessary labour.” (Linda Gordon, 1977) It is indeed intriguing as to how it has been predominately women that have become synonymous to the domestic domain. The housewife possesses an intimacy to the home which has best been illustrated by Christian Marazzi with his example of the “place for the socks,” where he describes how the wife naturally puts her husbands socks back “where they belong.” Domestic labour and affective labour, a labour of emotions and of taking care, have become naturalised and as a consequence taken for granted. There is an urgency to readdress the spatial and social layout of housing in order to bring affective labour to the foreground. The ShareHouse, for four or eight newly formed families, allows housework to be shared, liberates the housewife from isolation, exposes domestic labour and creates a non gendered realm where solidarity between women and between women and men is created.


Eugenie Bliah has currently graduated from the Architectural Association.


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