9 1免费版下

One hundred and fifty feet of continuous, hand-drawn tracing paper 鈥� at times lying on the floor, pinned to the walls, or draped over wooden dowels - depict a research journey showcasing the transformative role of women in architectural design.

Paulette Cameron鈥檚 (BEDS鈥�19/MArch鈥�21) first solo exhibition, Dancing Between the Lines, is the culmination of her Prix de Rome in Architecture research and tells the story of fourteen women challenging patriarchal norms within the design profession. 鈥淚t was rewarding to see my vision emerge after months of traveling,鈥� recalls Paulette. 鈥淚 visited seven countries and interviewed and shadowed fourteen women, all while researching, documenting, and synthesizing my findings.鈥�

Hosted by the 9 1免费版下 School of Architecture, the exhibition drew great attendance from the local community. Visitors experienced Paulette鈥檚 journey through drawings, interactive installations, and a photo display capturing moments from her travels. At the center of the space was what Paulette called the 鈥渨omb鈥� of her show, inspired by a conversation with of Mexico City, one of the women she worked with in her research. Paulette inquired how motherhood reshaped Tatiana鈥檚 understanding of architecture鈥檚 role in society, prompting her to recall a conversation she had with a group of women at Princeton, where one shared that when her body became architecture through motherhood, everything changed. 鈥淚 wanted to communicate, in a spatial way, how rethinking the origin of architecture with the woman鈥檚 body at its core shifts architectural practice toward nurture, care, and listening,鈥� Paulette explains.

The 鈥渨辞尘产,鈥� an intimate enclosure surrounded by white curtains, was anchored by a cocooning, locally made donut-shaped pouf, where visitors were invited to rest, reflect, and record their thoughts on a Califone cassette recorder. Throughout the exhibition, Paulette played the fourteen interviews on a continuous loop, enveloping the audience in the voices and stories that inspired her journey.

The interactive installations invited further exploration. A drawing station encouraged visitors to engage with the design process firsthand, while a projection of a Prada fashion show鈥攕et-designed by Ellen van Loon and her team at in Rotterdam鈥攕howcased the impact of interdisciplinary overlap, pushing architecture beyond the silo it has been confined to as a discipline. These elements connected the personal stories of the women Paulette met to the broader cultural impact of their work, while also inviting visitors to contribute, symbolizing the inclusion of many voices and the interconnectedness fostered by the women interviewed.

"I was deeply touched by how many people engaged with the exhibition,鈥� notes Paulette. 鈥淗earing visitors share their own gendered, class-based, or racialized experiences of exclusion within the profession鈥攁nd witnessing the vulnerability and tears shed鈥攚as incredibly moving and has reinforced my commitment to creating platforms for open dialogue and constructive critique."

Paulette鈥檚 research and exhibition is based on conversations with: Rosalea Monacella, Ana Mar铆a Dur谩n Calisto, Deborah Berke, Dolores Hayden, Lauren Stimson, Wanda Dalla Costa, Claudia Kappl-Joy, Tatiana Bilbao, Ann Nisbet, Helle S酶holt, Ellen Van Loon, Alison Brooks, Manuela Luca-D谩zio, and Sabine Marcelis, and is part of her ongoing body of work that she continues to lecture on and show. Since the exhibition, Paulette has lectured on her work for the Building Equality in Architecture (BEAT) Panel at the , and at several architectural firms.聽