Pub Date : 2018-09-02DOI: 10.1080/17406315.2018.1690293
Phevos Kallitsis, Dia Soilemezi, A. Elliott
ABSTRACT The home environment becomes very important for family caregivers of people with dementia as a place of safety, retreat and care provision. Using a gender-based perspective, the authors analyzed thirteen interviews with family caregivers to understand how they perceived their home space. The data was analyzed thematically with the help of adjacency diagrams. Our analysis identified three main themes: compact layout, spatial flexibility, and the wider neighborhood. Given the gendered nature of caring, the findings are discussed drawing on the work of feminist architects regarding the home environment. The authors argue that feminist architectural approaches can usefully inform spatial strategies regarding dementia, ageing friendly housing, accessible living and the wellbeing of the caregiver. Different bodies and users’ needs should be at the epicenter of design, as opposed to conventional design and the current practices by developers, which may create a series of disabling spaces.
{"title":"Disabling Spaces and Spatial Strategies: Feminist Approaches to the Home Environment of Family Caregivers of People with Dementia","authors":"Phevos Kallitsis, Dia Soilemezi, A. Elliott","doi":"10.1080/17406315.2018.1690293","DOIUrl":"https://doi.org/10.1080/17406315.2018.1690293","url":null,"abstract":"ABSTRACT The home environment becomes very important for family caregivers of people with dementia as a place of safety, retreat and care provision. Using a gender-based perspective, the authors analyzed thirteen interviews with family caregivers to understand how they perceived their home space. The data was analyzed thematically with the help of adjacency diagrams. Our analysis identified three main themes: compact layout, spatial flexibility, and the wider neighborhood. Given the gendered nature of caring, the findings are discussed drawing on the work of feminist architects regarding the home environment. The authors argue that feminist architectural approaches can usefully inform spatial strategies regarding dementia, ageing friendly housing, accessible living and the wellbeing of the caregiver. Different bodies and users’ needs should be at the epicenter of design, as opposed to conventional design and the current practices by developers, which may create a series of disabling spaces.","PeriodicalId":44765,"journal":{"name":"Home Cultures","volume":"36 1","pages":"265 - 287"},"PeriodicalIF":0.4,"publicationDate":"2018-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17406315.2018.1690293","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60445828","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 : 2018-05-04DOI: 10.1080/17406315.2019.1612588
Shu-chuan Yan
Abstract By zooming in on the Girl’s Own Paper (GOP), this essay demonstrates how the production and dissemination of shared domestic cultures are directed at adolescent girls through esthetic practices of furnishing and decorating the home. The essay aims to contextualize the role of household art in the relationship between female adolescence and bourgeois domestic interiors in fin de siècle Britain. The relationship reveals three important aspects of domestic cultures: household art, do-it-yourself crafts, and material collecting. First, the GOP advises adolescent girls to read and interpret the language of household art through selection and placing, which, in turn, facilitates the construction of the textuality of interior furnishings. The GOP’s esthetic theory, an integral part of educating and improving girls’ taste, functions to enhance their room-layout skills and also construct their architectural identities. Second, adolescent girls are credited with the active role of young home-makers in the GOP. The practice of amateur upholstery shapes female youth’s artistic self-expression and manifests their autonomous control over the making of home-crafted objects. And thirdly, the act of collecting furniture pieces and decorative items functions to address the various components of a room alongside contemporary social concerns about good taste. The accumulation of artifacts allows girls to achieve a sense of materiality and ownership contained within the domestic sphere. Home decoration in general provides a focal point for understanding how the familial space becomes the site of adolescent girls’ artistic labor and household elegancies.
{"title":"“Our Artistic Home”: Adolescent Girls and Domestic Interiors in the Girl’s Own Paper","authors":"Shu-chuan Yan","doi":"10.1080/17406315.2019.1612588","DOIUrl":"https://doi.org/10.1080/17406315.2019.1612588","url":null,"abstract":"Abstract By zooming in on the Girl’s Own Paper (GOP), this essay demonstrates how the production and dissemination of shared domestic cultures are directed at adolescent girls through esthetic practices of furnishing and decorating the home. The essay aims to contextualize the role of household art in the relationship between female adolescence and bourgeois domestic interiors in fin de siècle Britain. The relationship reveals three important aspects of domestic cultures: household art, do-it-yourself crafts, and material collecting. First, the GOP advises adolescent girls to read and interpret the language of household art through selection and placing, which, in turn, facilitates the construction of the textuality of interior furnishings. The GOP’s esthetic theory, an integral part of educating and improving girls’ taste, functions to enhance their room-layout skills and also construct their architectural identities. Second, adolescent girls are credited with the active role of young home-makers in the GOP. The practice of amateur upholstery shapes female youth’s artistic self-expression and manifests their autonomous control over the making of home-crafted objects. And thirdly, the act of collecting furniture pieces and decorative items functions to address the various components of a room alongside contemporary social concerns about good taste. The accumulation of artifacts allows girls to achieve a sense of materiality and ownership contained within the domestic sphere. Home decoration in general provides a focal point for understanding how the familial space becomes the site of adolescent girls’ artistic labor and household elegancies.","PeriodicalId":44765,"journal":{"name":"Home Cultures","volume":"15 1","pages":"181 - 208"},"PeriodicalIF":0.4,"publicationDate":"2018-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17406315.2019.1612588","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47140509","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 : 2018-05-04DOI: 10.1080/17406315.2019.1612565
I. Levin
Abstract In this article, I show how the category of the migrant house, as has been recently discussed in much scholarship, can be expanded to include another subcategory—the global-middle-class house. Recently, the migrant house has generated much research in migration studies and in disciplines of the built environment. Consequently, it has been examined through various perspectives, including home and belonging, materiality in the home, and the transnational home. It has not been examined, however, through the concepts of cultural capital, taste and kitsch, as developed by Bourdieu and others. This article applies these concepts in the exploration of the migrant house through a case study of one house and its transformation from old to new in suburban Melbourne. The article shows how the concepts of cultural capital, taste and kitsch can be utilized to expand the category of the migrant house to include the global-middle-class house. Following a theoretical discussion, the article analyses the old family house, the decision to demolish, the construction process and the redevelopment of a new house, together with an analysis of material objects in the new house and around it. The article argues that this is a specific kind of a migrant house, a global-middle-class house, because it combines popular global taste with objects taken from the ancestral past of its migrant residents.
{"title":"A Global-Middle-Class House?1 Cultural Capital, Taste, and Kitsch","authors":"I. Levin","doi":"10.1080/17406315.2019.1612565","DOIUrl":"https://doi.org/10.1080/17406315.2019.1612565","url":null,"abstract":"Abstract In this article, I show how the category of the migrant house, as has been recently discussed in much scholarship, can be expanded to include another subcategory—the global-middle-class house. Recently, the migrant house has generated much research in migration studies and in disciplines of the built environment. Consequently, it has been examined through various perspectives, including home and belonging, materiality in the home, and the transnational home. It has not been examined, however, through the concepts of cultural capital, taste and kitsch, as developed by Bourdieu and others. This article applies these concepts in the exploration of the migrant house through a case study of one house and its transformation from old to new in suburban Melbourne. The article shows how the concepts of cultural capital, taste and kitsch can be utilized to expand the category of the migrant house to include the global-middle-class house. Following a theoretical discussion, the article analyses the old family house, the decision to demolish, the construction process and the redevelopment of a new house, together with an analysis of material objects in the new house and around it. The article argues that this is a specific kind of a migrant house, a global-middle-class house, because it combines popular global taste with objects taken from the ancestral past of its migrant residents.","PeriodicalId":44765,"journal":{"name":"Home Cultures","volume":"15 1","pages":"155 - 179"},"PeriodicalIF":0.4,"publicationDate":"2018-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17406315.2019.1612565","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41724356","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 : 2018-05-04DOI: 10.1080/17406315.2018.1610604
K. Connellan
Abstract The material culture of home cannot be supplanted in its entirety when moving into an aged care facility. When the time comes, the decision of what to take and what to leave behind is not simple. This article presents the balance between practical and emotional considerations in the choice and presence of personal objects in the rooms of residents. Intersubjective relationships between material objects in the room and the people who enter that space is viewed through a narrative lens. In this way, it is the materiality of the room-as-home for the self, which is key. Three major themes relating to the objects in the room of the older person were found to be: 1. Safety, 2. Family, and 3. Home. These themes emerged from ethnographic research in an aged care setting. Participants included residents, their families, care staff, and management of the facility. The article contributes to understandings of material objects as carriers of identity and meaning in an aged care facility.
{"title":"My Room, My Home, My Self","authors":"K. Connellan","doi":"10.1080/17406315.2018.1610604","DOIUrl":"https://doi.org/10.1080/17406315.2018.1610604","url":null,"abstract":"Abstract The material culture of home cannot be supplanted in its entirety when moving into an aged care facility. When the time comes, the decision of what to take and what to leave behind is not simple. This article presents the balance between practical and emotional considerations in the choice and presence of personal objects in the rooms of residents. Intersubjective relationships between material objects in the room and the people who enter that space is viewed through a narrative lens. In this way, it is the materiality of the room-as-home for the self, which is key. Three major themes relating to the objects in the room of the older person were found to be: 1. Safety, 2. Family, and 3. Home. These themes emerged from ethnographic research in an aged care setting. Participants included residents, their families, care staff, and management of the facility. The article contributes to understandings of material objects as carriers of identity and meaning in an aged care facility.","PeriodicalId":44765,"journal":{"name":"Home Cultures","volume":"15 1","pages":"103 - 127"},"PeriodicalIF":0.4,"publicationDate":"2018-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17406315.2018.1610604","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47244179","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 : 2018-05-04DOI: 10.1080/17406315.2018.1610610
Krista Cowman
Abstract This article uncovers the fierce inter-war debate provoked by the British Government’s decision to remove state subsidies for building larger “parlour-type” houses in 1923. Examining the various defences that were put forward in support of the working-class parlour it argues that the parlour was seen as a key marker of respectability in working-class communities with the potential to shape the behaviours and outlook of its inhabitants. Drawing on a variety of contemporary and autobiographical sources it suggests that the occasional use of the parlour, a keystone of its opponents’ criticisms was precisely what gave most value to the room for its owners. Recent controversy over the bedroom tax in Britain suggests that “extra” space remains a contentious issue in subsidised homes today.
{"title":"A Waste of Space? Controversies Surrounding the Working-Class Parlour in Inter-War Britain","authors":"Krista Cowman","doi":"10.1080/17406315.2018.1610610","DOIUrl":"https://doi.org/10.1080/17406315.2018.1610610","url":null,"abstract":"Abstract This article uncovers the fierce inter-war debate provoked by the British Government’s decision to remove state subsidies for building larger “parlour-type” houses in 1923. Examining the various defences that were put forward in support of the working-class parlour it argues that the parlour was seen as a key marker of respectability in working-class communities with the potential to shape the behaviours and outlook of its inhabitants. Drawing on a variety of contemporary and autobiographical sources it suggests that the occasional use of the parlour, a keystone of its opponents’ criticisms was precisely what gave most value to the room for its owners. Recent controversy over the bedroom tax in Britain suggests that “extra” space remains a contentious issue in subsidised homes today.","PeriodicalId":44765,"journal":{"name":"Home Cultures","volume":"15 1","pages":"129 - 153"},"PeriodicalIF":0.4,"publicationDate":"2018-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17406315.2018.1610610","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48546592","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 : 2018-01-02DOI: 10.1080/17406315.2018.1555122
I. Cieraad
Abstract In the light of a newly discovered source of thousands of seventeenth-century Dutch letters found in the English National Archive a case is made for a radical reinterpretation of seventeenth-century Dutch paintings. These so-called “homescapes” feature in the historiography of the modern home as proof of the fact that seventeenth-century Holland was the cradle of female domesticity. However, the captured Dutch letters written to the home front by seamen sailing on the large Dutch mercantile fleet, as well as the women’s letters to their seafaring husbands tell quite a different story. Especially the letters from the home front narrate of dire circumstances and shed a new light on the subjects of the homescapes, more in particular on the subject of letter-reading and letter-writing females, and intimate mother-and-child scenes. The nineteenth-century revaluation of the glory of seventeenth-century Dutch painting in general and the homescapes in particular explains how the myth of Holland as the cradle of female domesticity came into existence.
{"title":"Rocking the Cradle of Dutch Domesticity: A Radical Reinterpretation of Seventeenth-Century “Homescapes”1","authors":"I. Cieraad","doi":"10.1080/17406315.2018.1555122","DOIUrl":"https://doi.org/10.1080/17406315.2018.1555122","url":null,"abstract":"Abstract In the light of a newly discovered source of thousands of seventeenth-century Dutch letters found in the English National Archive a case is made for a radical reinterpretation of seventeenth-century Dutch paintings. These so-called “homescapes” feature in the historiography of the modern home as proof of the fact that seventeenth-century Holland was the cradle of female domesticity. However, the captured Dutch letters written to the home front by seamen sailing on the large Dutch mercantile fleet, as well as the women’s letters to their seafaring husbands tell quite a different story. Especially the letters from the home front narrate of dire circumstances and shed a new light on the subjects of the homescapes, more in particular on the subject of letter-reading and letter-writing females, and intimate mother-and-child scenes. The nineteenth-century revaluation of the glory of seventeenth-century Dutch painting in general and the homescapes in particular explains how the myth of Holland as the cradle of female domesticity came into existence.","PeriodicalId":44765,"journal":{"name":"Home Cultures","volume":"15 1","pages":"102 - 73"},"PeriodicalIF":0.4,"publicationDate":"2018-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17406315.2018.1555122","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43892125","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 : 2018-01-02DOI: 10.1080/17406315.2018.1555120
Robyn Creagh
Abstract Understanding place as process offers an alternative to the reproduction of places as static objects and the resultant problematic exclusion of multiple other narratives. This paper builds on the work of Lefebvre, de Certeau and Massy to develop design tactics for engaging with places as dynamic, plural and interconnected. This paper describes and analyses an original exhibition of large scale participatory artworks which explored the role of travel histories and memory for the author’s sense of place in Perth, Western Australia. Reflection on this exhibition supports the argument that perceiving an urban location as a place depends on the opportunity for inhabitants to layer in their own contributions, and crucially, to observe change brought about by these actions and those of others. This paper concludes by offering fragmentation and malleability as tactics for further design and research within urban development, re-development, and placemaking projects.
{"title":"Design Tactics for Urban Places","authors":"Robyn Creagh","doi":"10.1080/17406315.2018.1555120","DOIUrl":"https://doi.org/10.1080/17406315.2018.1555120","url":null,"abstract":"Abstract Understanding place as process offers an alternative to the reproduction of places as static objects and the resultant problematic exclusion of multiple other narratives. This paper builds on the work of Lefebvre, de Certeau and Massy to develop design tactics for engaging with places as dynamic, plural and interconnected. This paper describes and analyses an original exhibition of large scale participatory artworks which explored the role of travel histories and memory for the author’s sense of place in Perth, Western Australia. Reflection on this exhibition supports the argument that perceiving an urban location as a place depends on the opportunity for inhabitants to layer in their own contributions, and crucially, to observe change brought about by these actions and those of others. This paper concludes by offering fragmentation and malleability as tactics for further design and research within urban development, re-development, and placemaking projects.","PeriodicalId":44765,"journal":{"name":"Home Cultures","volume":"15 1","pages":"53 - 71"},"PeriodicalIF":0.4,"publicationDate":"2018-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17406315.2018.1555120","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47119266","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 : 2018-01-02DOI: 10.1080/17406315.2018.1555117
Gulen Cevik
Abstract Starting in the eighteenth century, the West’s interest in the exotic was matched with a rival gaze from the East. The fluid seams where the so-called dualities met have generated powerful spaces of tension: Occident, Orient; master, colonized; and public, private. The elite Muslim Ottoman women’s agency in dress via adoption of corsets, tight-fitting dresses and the adoption of overstuffed seating furniture modeled after the Turkish divan in the West resulted in an unprecedented conflict between furniture, the body and the dress. The inclusion of the body and its dress in the discourse helps to construct an interior design theory that deals with the immediate, experiential role of the body unlike the abstract body in space, which served architectural theory for centuries. Furthermore, the body fosters social manifestation of spaces. This is the fascinating story of a cultural exchange between women: an exchange of divans and corsets.
{"title":"A TALE OF TWO VISIONS: Representing the Orientialized West, Representing the Orient","authors":"Gulen Cevik","doi":"10.1080/17406315.2018.1555117","DOIUrl":"https://doi.org/10.1080/17406315.2018.1555117","url":null,"abstract":"Abstract Starting in the eighteenth century, the West’s interest in the exotic was matched with a rival gaze from the East. The fluid seams where the so-called dualities met have generated powerful spaces of tension: Occident, Orient; master, colonized; and public, private. The elite Muslim Ottoman women’s agency in dress via adoption of corsets, tight-fitting dresses and the adoption of overstuffed seating furniture modeled after the Turkish divan in the West resulted in an unprecedented conflict between furniture, the body and the dress. The inclusion of the body and its dress in the discourse helps to construct an interior design theory that deals with the immediate, experiential role of the body unlike the abstract body in space, which served architectural theory for centuries. Furthermore, the body fosters social manifestation of spaces. This is the fascinating story of a cultural exchange between women: an exchange of divans and corsets.","PeriodicalId":44765,"journal":{"name":"Home Cultures","volume":"15 1","pages":"23 - 51"},"PeriodicalIF":0.4,"publicationDate":"2018-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17406315.2018.1555117","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42934680","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 : 2018-01-02DOI: 10.1080/17406315.2018.1551721
Anna Batori
Abstract The paper investigates how socialist architecture – both as location and visual text – functions as tool of political criticism in the late socialist cinema of Hungary. Through the textual analysis of the living space in the socialist bloc in Péter Bacsó’s A Pianino in Mid-Air (Zongora a levego”ben, 1976), Béla Tarr’s Family Nest (Családi tu”zfészek, 1977) and Prefab People (Panelkapcsolat, 1982), Péter Gothár’s A Priceless Day (Ajándék ez a nap, 1979) and György Szomjas’s Wall Driller (Falfúró, 1985), the study dwells on the elimination of domestic space in the films which, as argued below, corresponds to the families’ disintegration and so to the failure a coherent, socialist society.
摘要本文探讨了在匈牙利晚期的社会主义电影中，社会主义建筑作为位置和视觉文本是如何作为政治批评工具发挥作用的。通过对Péter Bacsó的《半空中的钢琴》（Zogora A levego“ben，1976）、Béla Tarr的《家庭巢穴》（Családi tu”zfészek，1977）和《序言人物》（Panelkapcsolat，1982）、Péter Gothár的《无价的一天》（Ajándék ez A napp，1979）和György Szomjas的《钻墙者》（Falfúró，1985）中社会主义阵营的生存空间的文本分析，本研究着重探讨了电影中家庭空间的消失，正如下文所述，这与家庭的解体相对应，也与一个连贯的社会主义社会的失败相对应。
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Pub Date : 2017-09-02DOI: 10.1080/17406315.2018.1507788
Chantel Carr, Christopher R Gibson, Carol Farbotko
Abstract Much of the growing focus of research on home cultures and materiality emphasizes eventful or disruptive temporalities: extensions, renovations, retrofits. Here, we trace how homes and lives are reshaped materially and conceptually, in response to other less disruptive temporalities of accommodation. Interviews with suburban Australian households reveal how people gradually come to know the built fabric of their home over time. Lay expertise is acquired through small material adjustments across multiple timescales: triggered by overlapping rhythms of body and building amidst broader lifecourse rhythms. To explore the role material engagements play in mediating these rhythms we focus on two ubiquitous suburban materials—glass and brick. We seek to demonstrate how bodies learn to work with the qualities of these materials and adjust their rhythms to engender comfort through dwelling in place over time. These comparatively mundane processes of spatial, behavioral and material adjustment take on further significance when connected with questions of entrenched routines and practices, material stewardship, vulnerability, and the ability of households to adapt to a changing climate.
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