Pub Date : 2020-05-03DOI: 10.1080/17406315.2020.1863174
Richard J. Harris
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Pub Date : 2020-01-02DOI: 10.1080/17406315.2020.1777629
Saffron Woodcraft
Abstract This article offers a new analysis of the ‘show apartment’ as a device to disguise the power imbalance between prospective buyers of new off-plan homes and the global network of institutions that drive property development and mortgage-finance industries. Applying Gell’s notion of the ‘aesthetic trap’ to an ethnographic account of show apartments in a new neighbourhood in London’s Olympic Park, the article demonstrates how show apartments are an illusory form at the apex of a process of risk and commodification that disguises and normalises the risks to which potential homeowners are exposed.
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Pub Date : 2020-01-02DOI: 10.1080/17406315.2020.1757382
Kornelia Boczkowska
Abstract Commonly known as non-places or stopping places, hotels create their own sense of domesticity and seclusion, simultaneously invoking an uncanny screen presence due to their non-contradictory nature. Likewise, this article builds on the theory of an architectural uncanny and weirdness to analyze how Chantal Akerman’s Hôtel Monterey and Pat O’Neill’s The Decay of Fiction delineate interior spaces to evoke an (un)homely domesticity and (un)belonging human presence. In particular, to prioritize the hotel architecture, Akerman relies on a partial and fragmentary representation of interiors, whose larger picture is always beyond spectators’ vision, and O’Neill’s creates an engrossing tension between haptic visuality and optical perception, which gives rise to the fetishism of decay. Consequently, while Hôtel Monterey’s indoor architecture presents a spectacle of largely mute, impenetrable spaces with no or little human interaction, The Decay of Fiction’s domestic spaces form a permeable layer through which shadowy figures continuously enact their fictional roles.
酒店通常被称为非场所或停留场所，它创造了自己的家感和隐居感，同时由于其不矛盾的性质而唤起了一种不可思议的屏幕存在感。同样，本文以建筑的神秘和怪异理论为基础，分析Chantal Akerman的Hôtel Monterey和Pat O 'Neill的the Decay of Fiction如何描绘室内空间，以唤起一种(非)家庭生活和(非)归属的人类存在。特别是，为了优先考虑酒店建筑，Akerman依赖于局部和零碎的室内表现，其更大的画面总是超出观众的视野，而O’neill在触觉视觉和光学感知之间创造了一种引人入胜的张力，这导致了对腐朽的迷恋。因此，Hôtel Monterey的室内建筑呈现出一种很大程度上沉默的、难以穿透的空间奇观，没有或很少有人类的互动，而The Decay of Fiction的家庭空间形成了一个可渗透的层，通过这个层，阴影人物不断地扮演他们的虚构角色。
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Pub Date : 2019-12-14DOI: 10.1080/17406315.2019.1699737
S. Horton
ABSTRACTAs everyday life increasingly conflates home and work, the boundaries between the domestic and the workplace become ever more blurred. The practice-led research presented here tested the ab...
{"title":"Hard Graft? The Office Chair as a Site for Decorative Art Interventions","authors":"S. Horton","doi":"10.1080/17406315.2019.1699737","DOIUrl":"https://doi.org/10.1080/17406315.2019.1699737","url":null,"abstract":"ABSTRACTAs everyday life increasingly conflates home and work, the boundaries between the domestic and the workplace become ever more blurred. The practice-led research presented here tested the ab...","PeriodicalId":44765,"journal":{"name":"Home Cultures","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2019-12-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17406315.2019.1699737","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47953726","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-12-14DOI: 10.1080/17406315.2019.1699736
Maja Willén
In this text, I will discuss how history is used and understood in different contemporary contexts regarding the domestic architecture of the fin de siecle (approx. 1880-1915). The focus is on apar...
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Pub Date : 2019-09-02DOI: 10.1080/17406315.2020.1752550
Xiang Zhou, Yuning Cheng
Abstract Based on the phenomenon of social segregation that commonly appears in contemporary cities, the article points out the peculiar problem of adjacent segregation that currently occurs in the historic lane neighborhood of Shanghai. By discussing the dialectical relation between adjacent segregation and mixed habitation, it indicates physical proximity does not necessarily result in social mix. After that, by taking the lane neighborhood in Hongkou creek area as the research object, the article streamlines its historical transition. Meanwhile, through the measurements of community cognitive domain and daily spatial utilization pattern, the article explores residents’ perception of ‘three discrepant worlds’ of Hongkou creek area. Then, by confirming the social value of daily living space, the article summarizes the organization mechanism on account of community cohesion from the perspective of the state and the family. Finally, it concludes that the maintenance of daily living space on the material level and the support of community empowerment on the social level are a viable solution for the historic lane neighborhood to redress the adjacent segregation and unify public space against the context of rapid urbanization.
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Pub Date : 2019-09-02DOI: 10.1080/17406315.2020.1757380
A. Serrano
This research explores the connections between the recent economic crisis and the contemporary horror film. To this end, I begin with a theoretical examination of the symbolic function of two key m...
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Pub Date : 2019-09-02DOI: 10.1080/17406315.2020.1757381
Melisa Duque, S. Pink, Shanti Sumartojo, L. Vaughan
Abstract This article examines how a sense of home can be created in complex clinical healthcare contexts for vulnerable patients. While existing research in this field focuses mainly on patient experience, we take a design anthropological approach to advance the discussion by examining how healthcare staff participate as “everyday designers,” who improvise to create circumstances for homeliness. We draw on ethnographic research undertaken in the Older Persons Unit (OPU) of a Psychiatric Department, before and after the Unit’s move from an older facility to a newly built large regional hospital in Australia. We propose that the ongoing everyday designing of homeliness by hospital staff, in collaboration with patients, is an element of care that contributes significantly to bringing the feeling of “home,” and the sense of comfort associated with it, into a clinical environment.
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Pub Date : 2019-05-04DOI: 10.1080/17406315.2019.1759935
Bahar Emgin
Abstract This article is concerned with the question of how electricity was introduced into the home in Turkey during a period when electrification of the country ran in parallel with the establishment of the new republic. Republican discourses of modernization and progress attributed electricity a symbolic transformative power. Yet, the robust power of electricity had to be domesticated before it was introduced into the homes to comply with the ideal of modern home. Visual representations of electricity constituted a crucial step in this process of domestication. To figure out the visual strategies of domestication the study focuses on the representations of electricity produced by prominent mediators of domestic electricity during the period. These include the bi-monthly publication of İstanbul’s electric provider Société Anonyme d’Installations Eléctriques (SATIE) named Ameli Elektrik and prominent women’s and family magazines of the period, which are Yedigün and Ev-İş. Dwelling on advertisement images, cover illustrations and promotional pieces, this article identifies two main visual strategies of domestication, namely mythification and anthropomorphization. Throughout the text it is argued that visual representations of electricity for residential users undermined the quasi-neutral definition of electricity as a modern power and rather worked to frame electricity as a means of distinction and pictured a pretentious modernity.
摘要本文关注的是在土耳其电气化与新共和国建立并行的时期，电力是如何引入家庭的问题。共和党关于现代化和进步的论述将电力视为一种象征性的变革力量。然而，为了符合现代家庭的理想，在将强大的电力引入家庭之前，它必须被驯化。电的视觉表现是这一驯化过程中至关重要的一步。为了弄清驯化的视觉策略，本研究着重研究了这一时期著名的家庭电力中介所产生的电力表征。其中包括İstanbul的电子供应商sociemanonyme d 'Installations elsamctriques (SATIE)的双月刊，名为Ameli Elektrik，以及当时著名的妇女和家庭杂志yedig n和Ev-İş。本文以广告形象、封面插图和宣传品为例，分析了两种主要的视觉归化策略，即神话化和拟人化。在整篇文章中，作者认为，住宅用户用电的视觉表现破坏了用电作为一种现代力量的准中性定义，而是将电力作为一种区分手段，描绘出一种自命不凡的现代性。
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Pub Date : 2019-05-04DOI: 10.1080/17406315.2019.1759939
R. Woods, M. Korsnes
Abstract A zero emission building (ZEB), as defined by the Research Centre on Zero Emission Buildings (ZEB Centre) in Norway, is one solution towards achieving the aims set by the Paris Climate Agreement on dramatically reducing carbon emissions. The structure for a zero emission building includes a variety of technical strategies such as passive and active energy design and renewable energy sources, and is currently under development and testing. Many of the future ZEBs will become homes, implying a change in the use and understanding by those living there. Based on the response from six residential groups who lived in ZEB Living Lab, this paper studies how zero-emission housing technology impacts the use and understanding of it as a home. The paper presents two different interpretations, one that felt at home, and one that did not, and discusses the reasons and implications on the wider use and introduction of this kind of housing technology in Norway.
挪威零排放建筑研究中心(ZEB中心)定义的零排放建筑(ZEB)是实现《巴黎气候协定》设定的大幅减少碳排放目标的一种解决方案。零排放建筑的结构包括被动和主动能源设计以及可再生能源等多种技术策略，目前正在开发和测试中。许多未来的zeb将成为住宅，这意味着居住在那里的人在使用和理解上的变化。本文以居住在ZEB Living Lab的六个居住群体的反馈为基础，研究零排放住房技术如何影响其作为一个家的使用和理解。本文提出了两种不同的解释，一种是在家的感觉，另一种不是，并讨论了在挪威更广泛地使用和引进这种住房技术的原因和影响。
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