Domestic Space

Quelles pièces composaient la maison romaine et comment y
vivait-on ? Dès les XVIIIe et XIXe siècles, des savants passionnés
par l’Antiquité se sont intéressés à la domus, établissant une
grille de lecture – longtemps immuable – de son plan, de ses
espaces et de leur fonction. Aujourd’hui, les récentes recherches archéologiques couplées à une approche différente, anthropologique et
sociologique, offrent des clefs de compréhension renouvelées
de la structure – ou plutôt des structures – de la domus
romaine et de la manière dont on y vivait.

In the opening lines of the Beach Boys 1964 hit, “In My Room,” Brian Wilson portrays the bedroom and domestic space in general as a place of retreat and security, a world that one can “tell their secrets to.”  Yet, as the narrator confesses to a growing feeling of fragility in this relation, the cavernous soundtrack comes to introduce an unnerving openness that belies this sense of safe enclosure.  This testimonial to isolation and its celebration of interiority is additionally compromised by a complex overlay of harmonies which render the individual voice strangely multiple.  In these dynamics, the song dramatizes the transformation of the home that would occur under Postmodernism as a once discrete and private space would be shot through with its exterior.  While the historical forces behind this transformation are multiple, the most prominent include: the increasing ubiquity and reach of media, the explosion of postwar advertising, the birth of suburbia and the “always on call” employment model of late capitalism.  As the convergence point for these forces, the home in the second half of the 20th century came to relinquish its enduring historical function which Gaston Bachelard describes as “shelter[ing] day-dreaming, the house protects the dreamer, the house allows one to dream in peace.”
This transformation of the home is at the center of the work of photographers John Divola, Gregory Crewdson and Jeff Wall.  While the specific strategies vary between artists, collectively their work visualizes these tensions by presenting the home as somehow uninhabitable, both literally and figuratively speaking.  In these images, the expectation of sanctuary that Wilson and Bachelard describe clash violently with the forces of late capitalism described above, fueling a self-reflexive dialogue in which the operation of the camera is rendered complicit in the larger processes of defamiliarization and alienation in which the home is enmeshed.  For example, John Divola surreptitiously enters abandoned seaside homes in Southern California.  Chronicling his presence through flares and light anomalies, the photographer introduces a tension between the constructedness of the image, the unwanted presence of the photographer and the decay and degradation of the spaces in which these acts take place.  Similarly, Gregory Crewdson creates elaborate, excessively theatrical images of the home which question the association of the domestic with the authenticity and interiority.  Finally, Jeff Wall’s portrayal of the home reveals an intrusion of the world of images into the domestic sphere by self-consciously fashioning the drama of the home according to overwrought types and conventions.  In these works, the image of the home emerges as a space of alienation, but also as the center point for the convergence of historical and technical forces which would shape subjectivity and the politics of the image.

Zwischen dem 3. und dem 5. Jh. n. Chr. veränderte sich das römische Imperium in vielerlei Hinsicht, die Gesellschaftsordnung blieb jedoch in ihrem Kern bestehen. Die Wohnkultur der Eliten jener Zeit gewährt Einsichten in das Verhältnis von Kontinuität und Transformation. Inwiefern wandelten sich die Wohnviertel der antiken Städte? Veränderten sich die Nutzungsgewohnheiten von Bewohnern und Gästen oder der Wohngeschmack der Hausherren? Am Beispiel mehrerer, besonders gut erhaltener Häuser in der römischen Hafenstadt Ostia werden diese und andere Fragen eingehend besprochen. Sie zeigen in besonderer Deutlichkeit, wie sich die Wohnkultur der römischen Oberschichten im Zusammenspiel von überregionalen und lokalen Entwicklungen, von Tradition und Innovation sukzessive veränderte.

The present article tries to contribute to a better understanding of the relation between empire-wide and local aspects in late antique domestic
culture. On the one hand, late antique élite houses all over the Mediterranean share certain aspects, especially the existence of
a typical spatial structure; on the other hand, there are significant differences in the use of decorative elements, e. g. of marble and mosaic
pavements, and of water features. My paper tries to explain these discrepancies as a result of different local economic and historical
factors, and urban developments.

Domestic storage spaces are containers for the concealment of things whose value is inarticulable. Unlike the curation of collections, material accumulations grow of their own accord, accruing mass and animacy and inserting their affective hooks into the tissue of our sociality. Those who fail to contain accumulations are labelled hoarders.

The 'Past Sense' Project (PSP) brings together contemporary and historical archaeology, and psychotherapy, to consider the significance of material culture within contexts of domestic and sexual abuse, past and present. PSP will pilot a range of approaches to explore how collaborative community encounters with historic landscapes and buildings, artefacts, and other historical sources might enhance the process of identity (re-)construction and trauma management, for survivors of childhood and adulthood violence and abuse.
Methods include experimental auto- and co-archaeologies that integrate personal narratives and reflections within analyses of data obtained from archaeological surface- and building surveys, and auto-archive material. This will involve considering the (re)construction of meanings for material culture in relation to memory and identity, through studies of artefact biographies, and attending to the production and appropriation of transitional objects, through autobiographical studies.
We will also test the incorporation of recording, analysis, and interpretation of archaeological and other historical material (including written evidence, oral histories, photography, and artistic images) from earlier periods (particularly the 19th - mid 20th centuries) within community work – potentially involving creative elements (such as storytelling and artwork). In doing so, we will explore how engagement with material relating to domestic life in the more distant past (where appropriate, integrating historical material relating to domestic and sexual violence) might enable traumatised individuals and groups to confront experiences of violence in the more recent past. By examining diachronically continuous and changing abusive practices, and socio-political responses to abuse, we aim to foster recognition of dominant ideologies, and the practical, detrimental, effects of structural gender inequality. Emphasising acts of resistance to violence in and around the home, we endeavour to highlight personal and collective achievements that might reinforce and augment both a sense of self, and of community, for survivors of abuse.

L’accès à l’espace public est une des expériences que les femmes font quotidiennement et qui est de mieux en mieux documenté. Cependant celui des femmes racisées, ayant migré avec leurs enfants et résidant en France dans des zones expulsables reste mal connu. La communication propose de plonger dans le quotidien mobile des mères, identifiées comme roms, en s’appuyant sur plusieurs cas ethnographiques et en adoptant une perspective intersectionnelle afin de mettre en lumière les rapports de pouvoir dans l’espace. Leur vie est structurée par la mobilité à la fois transnationale (migrations pendulaires), résidentielle (évacuations de bidonville) et quotidienne (accès aux ressources urbaines). Ressortissantes de l’Union européenne, elles ne sont pas soumises aux mêmes politiques migratoires que les migrantes extra-européennes. Expulsées des terrains ou des bâtiments qu’elles occupent illégalement, elles sont régulièrement en situation d’errance. Habitant en bidonville et identifiées comme roms elles sont discriminées dans l’accès au droit commun. Enfin, contrairement aux personnes qui migrent seules, elles sont en charge des enfants et du travail domestique.
La théorie féministe s’accorde à dire que la division sexuelle du travail se traduit par une division sexuelle de l’espace qui distingue d’un côté l’espace domestique dédié au travail reproductif et de l’autre, l’espace public dédié au travail productif. Les femmes, recluses dans le premier, ont un accès limité au second, appropriés par les hommes.
Le livre phare de Betty Friedan paru en 1963, La femme mystifiée, souvent identifié par la recherche féministe comme le jalon ouvrant les portes à la 2e vague, pose l’espace domestique comme un piège enfermant les femmes dont l’émancipation tiendrait principalement à l’accès à l’espace public et au travail salarié. En France, Jacqueline Coutras affirme en 1993 que l’assignation à l’espace domestique pour les femmes s’atténue grâce à l’accès à la motorisation et au travail salarié par les femmes, « rattrapant » ainsi le retard qu’elles avaient pris sur la mobilité par rapport aux hommes.
En s’appuyant sur un cadre théorique influencé par le black feminism, il s’agit de se demander comment les mères « roms » en bidonville articulent travail domestique et espace public.
Comment conjuguer maternité et mobilité dans le contexte urbain de l’Ile-de-France, structuré par les dominations de genre, de classe et de race ?
Après quelques précisions sur l’ethnographie que j’ai menée durant une période de 30 mois sur des bidonvilles d’Ile-de-France, j’exposerai différentes situations d’im/mobilités féminines. Il s’agira de préciser en quoi, dans un contexte de dominations croisées, accéder à l’espace public avec des enfants nécessite la mise en œuvre de quelques tactiques et contournements. Quand cela n’est pas possible, les femmes ont recours à la garde d’enfants. Cela engage à l’inverse l’immobilité d’autres femmes à l’échelle locale et transnationale révélant les liens de solidarité féminine et la dimension collective de la mobilité.

Everyday since the world has been engulfed by the threat of Covid-19, we hear about global crises of various kinds—health crisis, economic crisis, migrant crisis, employment crisis, work–home balance crisis to name a few. Societies are always in flux, but the crises that the current pandemic has brought with it have made us pause and think and in some cases also redirect our attention to the alarmingly fast pace at which the patterns of social and individual relationships, interactions and relations have to be constructed and reconstructed. It has further laid bare both the fragility and the robustness of various thought processes and societal mechanisms that operate silently and invisibly to perpetuate the dominant and the hegemonic at numerous sites. Having said that, it is also important to look at the way these hegemonic structures and norms are not only challenged but how they are inhabited by individuals in their everyday life. One such site is that of the domestic space. The present chapter, thus, attempts to examine the domestic space and gendered relations and identities within it. It is done by interrogating the (gendered) idea of home, homemaking, leisure and space derived from primary data collected from married women and men. The chapter explores how these are closely related to gendered division of labour and the meanings that are derived from them. This is done in the specific context of Covid-19 and the lockdown that followed it to explore the continuities and discontinuities from the pre-pandemic to the pandemic period highlighting the role of crisis in understanding the issue at hand.

This essay explores the changing space and material culture of the American kitchen from 1850 to 1950. There were huge changes in what a kitchen is, what a kitchen does and who works there. The origins of the American kitchen are in the Colonial ‘keeping room’ or ‘hall’, which was prevalent from 1700-1839. Located on the ground floor of dwellings, the keeping room was a space in which cooking was done on a massive hearth, alongside day-to-day living activities.

In the mid-nineteenth century, the kitchen continued to be the space for family meals and activities in rural areas. However, in middle-class households in urban areas the kitchen became the space for the activities of domestic servants and family life moved into the parlour and the dining room. The kitchen tended to be located in the basement to separate the dirty work of the kitchen, smells of cooking and activities of servants from middle-class residents. From the 1870s, when apartment houses or buildings rather than townhouses and brownstones were built, kitchens were located on the first floor, at the rear of the home. Thus the location of the kitchen made it a workroom rather than the heart of the home.

This designation of the kitchen as a workspace was further exacerbated by its diminishing size in the 1920s and 1930s, influenced by domestic reformers such as Christine Frederick who advocated the introduction of the work triangle in galley, U or L-shaped floor plans. These shifts in the location of the kitchen were intrinsically tied to the role of the mistress of the house and the shift in her status from mistress to professional housewife in the 1930s, alongside the declining availability of domestic servants. By the 1940s the multipurpose kitchen as a space for food preparation, cooking, eating and living became popular. Thus the kitchen was returned to the heart of the home.

All these changes in the space of the kitchen are reflected in the trade catalogues of the period. Furniture and cabinetry took on an increasingly factory-like appearance, firstly, with freestanding Hoosier cabinets, influenced by the Beecher sisters. The introduction of the fitted kitchen with white-painted wooden or metal cabinets developed this tendency further. The use of bold primary colours in the 1940s, followed by softer pastel shades in the 1950s made the kitchen an attractive space for the housewife. Together with the introduction of kitchen islands and L-shaped counter extensions with stools in the late 1940s, this facilitated the kitchen’s redesignation as a combined living and workspace.

Trade catalogues of the period illustrate vividly changes in food preparation and storage, cookery, washing up and laundry. Technologically driven changes in cooking appliances, aided by the availability of gas and electricity, meant that they could be maintained and used firstly by a greatly reduced household staff and then by the housewife herself. The cooking hearth gave way to the iron cookstove and the range. The introduction of refrigeration, and later freezers, revolutionised food preparation and storage, along with pre-prepared and convenience foods. New chemicals, detergents and washable wallpaper, flooring, and work surfaces facilitated hygiene. Labour-saving appliances were said to take the place of servants and reduce some of the drudgery of cookery, laundry and housework. Ironically, some of these developments meant that higher standards of housewifery and housework became desirable, which in Ruth Schwarz Cowan’s words, created ‘more work for mother’, meaning that the housewife did not actually save any labour.

Qui si spiega brevemente perché le pratiche di coabitazione in senso stretto, che vedono cioè la condivisione dello spazio prettamente domestico e la convivenza «sotto lo stesso tetto e dietro la stessa porta» di persone non appartenenti allo stesso nucleo familiare o alla stessa rete di parentela, assumano oggi più che mai interesse per chi si occupa di città. Il tema, piuttosto trascurato in letteratura, viene nel servizio declinato nell’alveo di più discipline a partire da casi, programmi, politiche e contesti geografici plurimi. L’articolo illustra la struttura e la logica sottesa ai diversi contributi dopo aver delineato gli aspetti demografici, sociali ed economici che spingono a riattualizzare diverse forme di condivisione abitativa che ereditiamo dal passato o a crearne di nuove.

The IDEA Research Lab aims to enhance interdisciplinary collaboration and exploration in the Interior Design field in Saudi Arabia. The identified themes of the IDEA Research Group are directly related to the Saudi Vision 2030 (A vibrant society… with fulfilling lives). For instance, the group will focus on people and their behaviours, their national identity and ancient cultural heritage, their environment and landscape, protecting families and empowering their social and health system. One of the main topics connected to the Saudi context will be the role of women in architecture and design: as stated also in Saudi Vision 2030 in the goal (Providing equal opportunities), the IDEA research group will focus on the Saudi women's work within architecture, industrial and interior design professions of cultural and social relevance for contemporaneity. The research themes are opened to a wide range of different fields of studies that support the interior design discipline, like humanities, technologies, engineering, and social science. Lab Vision The vision of the IDEA Research Group (Interior Design Environment and Arts) is to promote and develop research and training, placing people and the community at the center. Mission Enhance the quality of life within the interior environment and promote an interdisciplinary research to be innovative and competitive in the Interior field in Saudi Arabia and at an international level. Lab Objectives The key objective is to constantly pursue innovation in design with regard to spaces, objects, methods and means of communication and enhancing and promoting the enjoyment of cultural and environmental heritage; and fostering innovation in social relations.

Dr. Rehab Aburas, Dr. Göze Bayram, Dr. Samaher Fallatah, Dr. Irene Pasina, Ms. Renad Al-Sekait, Ms. Noura Al-Fowzan

""Life at Home in the Twenty-First Century cross-cuts the ranks of important books on social history, consumerism, contemporary culture, the meaning of material culture, domestic architecture, and household ethnoarchaeology. Far richer in information and more incisive than America at Home (Smolan and Erwitt), it also moves well beyond Rick Smolan's Day in the Life series. It is a distant cousin of Material World and Hungry Planet in content and style, but represents a blend of rigorous science and photography that none of these books can claim. Using archaeological approaches to human material culture, this volume offers unprecedented access to the middle-class American home through the kaleidoscopic lens of no-limits photography and many kinds of never-before acquired data about how people actually live their lives at home. Media reactions to early findings from the nine-year project that spawned this book indicate that it will appeal not only to scientists but also to the book-buying public, people who share intense curiosity about what goes on at home in their neighborhoods. Many who read the book will see their own lives mirrored in these pages and can reflect on how other people cope with their mountains of possessions and other daily challenges. Readers abroad will be equally fascinated by the contrasts between their own kinds of materialism and the typical American experience, as a sample of Italians' and Swedes' responses to our corpus of photographs and our study's findings have demonstrated. The book will interest a range of designers, builders, and architects as well as scholars and students who research various facets of U.S. and global consumerism, cultural history, and economic history."

Winner of the Jo Anne Stolaroff Cotsen Prize - 2012

The first edition (July 2012) sold out in late summer 2012.  The second printing is available on as of October 15, 2012.

Available at the UNM Press: http://www.unmpress.com/books.php?ID=20000000005616&Page=book

Facebook: https://www.facebook.com/life.at.home.in.the.twentyfirst.century?ref=hl""

O objetivo é conhecer os modos de organização de atividades domésticas em uma ocupação urbana vinculada a movimento social, tendo em vista as relações de gênero historicamente vinculadas ao doméstico. Observou-se que na ocupação estudada são empreendidos esforços cotidianos em desnaturalizar tais atividades como sendo do universo feminino, entendendo-as como gestos políticos em direção a construção de um espaço de moradia onde todos tomam parte. Sobretudo, observou-se também, que nesse esforço de reconfiguração da vida cotidiana, articulado a outros aspectos da experiência de morar nesta ocupação, as trajetórias das mulheres moradoras e militantes são impactadas e novos jeitos de ser mulher são cotidianamente inventados, enquanto é construída uma experiência coletiva de moradia.

El Tolmo de Minateda (Hellín, Albacete) offers a stratigraphic sequence without interruption between the 7th and 9th centuries AD. In this paper, the explanatory potentiality of that sequence is discussed, mainly applied to the early medieval ceramics and architecture. We use this record as instruments of recognition of the cultural and social change. The analysis of both cases of study allows the material characterization of the 7th century and present interesting archaeological questions around the historical meaning of the 711.

Tolmo de Minateda, Stratigraphic sequence, 8th cent AD, pottery, Architecture, Social Change

The article addresses the well-known question about the eventual links between the Old Russian Domostroi and the European domestic handbooks. The question is discused from a methodological point of view. Indeed, even if, beginning from the XIX century, several literary, philological and historical studies, such as those of I.S. Nekrasov
(1872) or C.J. Pouncy (1985), have already been dedicated to this purpose, they need today a critical review. The position presented in the article is that the aporia to which lead all the previous comparative works is above all a methodological one. It appears clearly when we analyze those works from the point of view of the comparative method as it is defined in the recent book of M.M. Krom, Introduction to the Comparative
History (2015). This critical approach also shows that the problem of the relationships between the Domostroi and its European analogues must be reformulated. The author suggests to address the question no more from the traditional literary point of view but from a historical one.

(From the cover) Se è vero che da puro nutrimento il cibo si è presto trasformato in complessa e raffinata operazione che convoca gusti e intelligenze per assurgere allo status d’imprescindibile «linguaggio», il luogo domestico a esso dedicato, in adesione al codice culturale percepito come egemone, viene a rivestire un ruolo di non comune interesse. Dalla scoperta del fuoco in epoca preistorica fino alle modernissime realizzazioni della tecnologia e della domotica, queste pagine ne seguono l’evoluzione privilegiando lo studio dell’architettura e del design su scala europea e nordamericana e verificandolo nella lunga durata, negli studi sociologici, antropologici e di genere, nei riflessi letterari e cinematografici, nello sviluppo sorprendente del gusto e dei suoi artefici attraverso i secoli. È un perfetto microcosmo, lo spazio che chiamiamo cucina, contesto sempre in bilico tra stabilità e cambiamenti la cui vicenda, qui raccontata con ricchezza di fonti e affabilità narrativa, si intreccia significativamente alla storia delle gerarchie sociali e familiari, ai ruoli definiti e alla loro eloquente messa in discussione.

** Index
Introduzione
Ringraziamenti

La cucina

I.  Ambienti tradizionali
1. La cottura primordiale
2. Tetto e focolare
3. L'oziosa culina
4. Diete conventuali
5. Coquina versus cellerarium
6. La cucina dei forti
7. Zuppa e panbagnato
8. Cortesie per gli ospiti
9. Femine amorevoli e operose
10. La comoda cucina
11. La cucina secreta
12. Il regno degli uomini
13. L'immaginario culinario
14. Richiami etici
15. Casseruole francesi
16. La cucina dei Lumi

II. Trasformazioni borghesi
1. La cuciniera
2. Utopie democratiche
3. Assaporare il gusto
4. La cucina moderna
5. La cuisine de famille
6. Ognuno ha il suo posto
7. Su e giù per le scale
8. Ordine e moralità
9. La cucina vittoriana
10. Il futuro è qui
11. L'Economia domestica
12. La cucina del cottage
13. La workroom
14. Senza cucina
15. Cucine italiane unite
16. La camera chiara

III. Trappole funzionali
1. Verso la cucina progressista
2. Dinamiche spaziali
3. Kitchen Management
4. Mangiare in cucina
5. Il pragmatismo gestionale
6. Razionalità europee
7. La cella operativa
8. Microcosmi standard
9. Armadi sovietici
10. La consumatrice
11. Time-Motion Kitchen
12. Composizioni modulari
13. La cucina del Ventennio
14. Gastronomie antipassatiste
15. Prototipi italiani
16. Cucinare nel pranzo

IV. Stili di vita
1. Ricostruzioni
2. Nazionalismi
3. L'Easier Living
4. Cucine del domani
5. Trasparenti intimità
6. Cucine scandinave
7. Verso la modernizzazione
8. Cucine arredate
9. Cucine componibili
10. Utopie plastiche
11. Cocktail party e cuisine française
12. Guerra fredda in cucina
13. Casalinghe demistificate
14. Il campo di battaglia
15. Rosso in cucina
16. Environments trasgressivi

V. Indizi contemporanei
1. Il grande freddo
2. Loft kitchen
3. Essenzialità tedesca
4. Fra citazione e superdesign
5. La cucina intelligente
6. «Superwoman»
7. Caleidoscopi familiari
8. Fra High-tech, minimalismo e surplus
9. «Kitchen-plaza»
10. Tendenze variabili
11. Uomini in cucina
12. Genitori e figli
13. Cokitchen
14. Cucinare in ufficio

Un mondo che governiamo?

Riferimenti bibliografici
Indice dei nomi

Convegno internazionale sulla casa ellenistica e le loro funzioni. Tre giorni di discussione e presentazione dei risultati archeologici dei vari siti nel bacino del Mediterraneo. In questa occasione ho presentato alcuni risultati sull'architettura privata nelle regioni dell'Illiria meridionale e dell'Epiro, regioni poco conosciute da questo aspetto.

تزخر مصر بتراث عظيم، متفرد، ثري ومتنوع يعكس حضاراتها وتاريخها عبر آلاف السنين. يُعد هذا التراث الإنساني أروع ما خلفه لنا الأجداد علي مر العصور. ومَن يقم بزيارة آثار مصر باختلاف عصورها وأماكنها وعمارتها وزخارفها لا يملك إلا أن يقول سبحان الله ! سبحان الله الذي لا إله إلا هو الحي الباقي ! سبحان الله الذي علم الإنسان ما لم يعلم ! سبحان الله كم من بشر قبلنا مر علي تلك الآثار ! ومن عَمرّها ! وكيف؟ ولماذا؟ أسئلة كثيرة تقود في النهاية لقول واحد سبحان الله ! 
هذا التراث المعماري والفني يمثل التاريخ المرئي لحضارة مصر عبر العصور بفترات ازدهارها وقوتها، وحقب انكماشها وضعفها، وأحوالها ما بين هذا وذاك. ورؤية هذا التراث المادي رأي العين أعظم أثراً في النفس من قراءة كتب المؤرخين أو حتى مشاهدة تصاوير المخطوطات.
ويعرض هذا الكتاب لنموذج من التراث المعماري الإنساني وهو منزل الأمير إبراهيم كتخدا السناري الكائن علي بعد خطوات من مسجد السيدة زينب. وفضلاً عن قيمة المنزل المعمارية والفنية الأثرية فهو يجسد تاريخ القاهرة في فترة تحول جوهرية من تاريخ مصرنا الحبيبة ألا وهي نهاية العصر العثماني ومجيء الحملة الفرنسية علي مصر. فترجمة صاحب المنزل تعرض لنظام الحكم في تلك الفترة التاريخية والذي كان هو نفسه أحد أدواته.
ويمثل منزل السناري أحد أروع أمثلة العمائر السكنية من دور وقصور الأمراء ورجال الدولة الكبار في العصر العثماني. وقد أوقف صاحب المنزل ومنشئه هذا المنزل بموجب حجة شرعية مسجلة بالمحكمة الشرعية ومحفوظة إلي الآن بأرشيف وزارة الأوقاف المصرية. وهذه الحجة كنز معلوماتي يفيد في علوم شتي منها علوم التاريخ، والآثار، والوثائق، واللغة، والفقه، وفقه البنيان، والشريعة والوقف... ومن المدهش الوصف المعماري الدقيق للمنزل الذي أوردته الوثيقة والذي يكاد يتطابق مع الوضع الحالي للمنزل.
واتسم المنزل –فضلاً عن قيمته المعمارية والفنية الكبيرة– بأهمية تاريخية خاصة حيث ارتبط تاريخ منزل السناري بالحملة الفرنسية علي مصر (1798-1801م)؛ حيث أقام فيه عدد من أعضاء لجنة العلوم والفنون ضمن الحملة، وكان غالبيتهم من الرسامين والمهندسين. 
إن تاريخ وعمارة منزل السناري يأسران كل من يتابعهما فيتلهف لمعرفة المزيد عنهما. وخير وسيلة لاكتشاف هذا الأثر الرائع هو زيارته والتعرف علي تفاصيل تاريخه وعمارته وهذا هو ما يهدف إليه هذا الكتاب. وأدعوكم لزيارة منزل السناري–وغيره من الآثار الجميلة التي تزخر بها مصر– في الواقع فالرؤية بالعين لها وقع آخر في النفس.

RESUM Aquesta ponència es proposa explorar el procés segons el qual durant la primera meitat del segle XX va haver-hi tres " intrusos tecnològics " , que es van integrar amb força naturalitat al món domès-tic tot trencant el seu silenci i la seva ancestral impermeabilitat: el gramòfon, el receptor de ràdio i el televisor. Els estudiosos de la tècnica, els antiquaris i els col·leccionistes s'han afanyat molt a estudiar i a documentar les primeres versions d'aquests artefactes, però sempre ho han fet en tant que aparells descontextualitzats i desvinculats del lloc que ocupaven en l'interior domèstic. El procés segons el qual aquests aparells van aconseguir un lloc d'honor en el saló, tot modificant substancialment els comportaments dels seus habitants, no és únicament estètic, ni únicament tecno-lògic, ni únicament productiu i ni únicament comercial. És tot això a l'hora. TEXTE

The present study was carried out to compare the physicochemical characteristics of eggs of guinea fowl, turkeys and domestic chickens outdoor reared in traditional farms in Baghdad, Iraq. A total of 166 fresh eggs; 32 eggs from guinea fowls (Numida meleagris), 44 eggs from turkeys (Meleagris gallopavo) and 90 eggs from domestic chickens; were collected. Egg weight, percentage of egg components, chemical composition (protein, lipids, and ash), and lipid profile were determined. Results revealed the significant differences in egg weight among studied birds. The average egg weights for guinea fowl, turkey, and indigenous chicken were 48.51 ± 0.72, 52.15 ± 0.74 and 61.24 ± 0.22 g, respectively. No significant differences were found in egg components and the chemical composition of the edible portions of the eggs among studied birds. However, the lipid profile of egg yolk indicated that egg cholesterol and LDL levels were significantly higher in guinea fowl and turkey compared with those in indigenous chickens, whereas native chicken has high values of HDL compared to guinea fowl and turkey. There were no significant differences in the triglyceride level in egg yolks among the studied fowls. In conclusion, although egg weight was significantly different among studied birds, eggs of guinea fowl, turkeys, and domestic chickens were similar in nutritional components.

Morgantina in central Sicily has been the site of human activity since the Neolithic era and settlement since at least the Bronze Age.  However, the periods of its history best known to archaeologists are the Iron Age, Archaic, Hellenistic, and Roman.  Employing the settlement component of Franco De Angelis’ proposed model for understanding ancient state formation, this paper analyzes patterns in the settlement data across these periods according to categories of domestic, agoratic, sacred, and fortified space.  It concludes that Morgantina’s settlement type best fits that of a town.

This paper was developed as part of a group project in Dr. Franco De Angelis' Fall 2014 graduate seminar on the formation of the Greek polis.  Each student chose a topic in the areas of settlement, economy and society that bear upon state formation at Morgantina and were expected to make use of each other's research.  As such, this paper cites student presentations (in particularly that of Brad Morrison on demography) in addition to published academic sources.

In 1697, writing his last will, Don Francesco Alliata Principe di Villafranca bequeathed his wife Margherita some personal gifts, more symbolic than precious.  Amongst these, there was “la seggia di velluto nera” (“the black velvet chair”), which furnished Margherita with a symbolic throne from which she, as a widow, could command on behalf of her husband. However, this paper does not focus on Margherita’s capability in following the directions of her late husband but argues that, through the matronage of her personal apartment, Margherita negotiated her own space within the familial context of the Alliata lineage.  Considering architecture as a mechanism acting on individuals, as well as a vehicle for building their identities, the paper tries to identify how an aristocratic widow, at the end of the seventeenth century in Palermo could build a relationship with her casa by carving out her personal apartment and using her devotion to inform this space.

Este trabajo presenta una aproximación teórica y práctica sobre la relación y vínculo entre las personas y objetos, y la concepción que éstos deben recibir en base al lugar que conforman en los espacios domésticos. En primer lugar, se presentan los trabajos preexistentes, tanto teóricos como prácticos; se justifica el tema de estudio, los objetivos establecidos y las hipótesis de las que se parten, así como la metodología que se emplea para la aproximación al tema de estudio. A continuación, en un primer capítulo, se desarrolla teóricamente la relación entre los objetos y las personas, así como se reflexiona acerca del concepto de museo y de memorabilia, en correlación al espacio cotidiano. Un segundo capítulo, de contenido más analítico, aborda los diferentes escenarios obtenidos de las entrevistas realizadas a cada caso de estudio, para posteriormente desarrollar un análisis comparativo de ambos casos.


This research presents a theoretical and practical approach about the relationship and bond between people and objects, and the understanding that they should received based on the place they define in domestic spaces. First, pre-­existing theoretical and practical works are presented;; the subject of study, the established objectives and hypothesis are justify, as well as the methodology used for the approach to the subject of study. Then, in the first chapter, it is theoretically developed the relationship between objects and people, as well as it is reflected upon the concept of museum and memorabilia, correlated to everyday space. A second chapter, with a more analytical content, addresses the different scenarios obtained from the interviews made to each case study, following with a comparative analysis of both cases.

The standard model of the early modern domestic kitchen in current scholarship is one of clear gender divisions and separation. This essay questions this current model through an assessment of the visual, popular, and print cultures of the early modern period. This essay looks first at Dutch genre art of the mid-sixteenth to mid-seventeenth century to see how kitchen interiors are presented, especially with reference to the gender of the people imagined in these paintings. Following is an exploration of the language of food – and food preparation – in plays of the period such as Arden of Faversham and Titus Andronicus. In these plays we find that male characters have a strong working knowledge of the kitchen and of food preparation, in opposition to the current academic model. Finally, a survey of some printed literature on the subject of food preparation suggests that these cookbooks and household guides often directly addressed men as well as women, and this is where this essay most directly opposes the current model as suggested by Wendy Wall and others. Throughout the essay there is an awareness of the influences of social status and economic circumstance on the various types of kitchen in the period and so the final suggestion is towards a reconfiguration in current scholarship of how we think about “the kitchen” as a conceptual space as well as a physical one.

Geritzte Inschriften in den Wohnhäusern Pompejis Aus Pompeji stammen mehrere tausend informeller Wandinschriften, die bei den Ausgrabungen zwar dokumentiert, aber nur sehr selektiv untersucht wurden. Für die damals neuartige Inschriftengattung prägte man im 19. Jahrhundert den Begriff " Graffiti", der heute für eine Vielzahl ganz unterschiedlicher Schrift-und Textformen verwendet wird. Assoziationen zu modernen Graffiti-Writings und Taggings werden dabei häufig leichtfertig auf antike Graffiti übertragen. Dabei stammt ein Großteil der pompejanischen Ritzinschriften aus den Innenräumen von Wohnhäusern und wirft damit die Frage nach ihrer Akzeptanz und Wahrnehmung auf. Polly Lohmann nähert sich den antiken Graffiti im Vergleich mit ihren modernen Namenspendants einerseits, mit anderen antiken Inschriften, Texten und Bildern andererseits. Fallstudien stellen einzelne Wohnhäuser mit ihren Graffiti vor, und in kontextübergreifenden Vergleichen werden Bezüge zu anderen Text-und Bildgattungen des urbanen Raums aufgezeigt. Sie machen deutlich, dass die pompejanischen Graffiti vielfach von dem geprägt waren, was man im Alltag sah und erlebte.

Este texto pretende contextualizar e destacar as propostas de Estela Brandão e de Maria Lúcia Namorado relativamente aos cuidados do lar, em diálogo com outros textos contemporâneos de economia doméstica e de reflexão sobre os temas abordados pelas autoras, tais como, e de entre outros, alimentação, casa, higiene e poupança. Por outro lado, pretende avaliar-se como era vista a relação entre género e trabalho numa autora adepta e em outra crítica do Estado Novo (1933-1974). Isto é, há coincidência ou divergência de ideias por parte das duas autoras acerca dos papéis femininos? Há propostas de emancipação das mulheres? Em que medida as posições destas autoras revelam algum tipo de originalidade?

After more than sixty years together, it is difficult to distinguish between my grandmother and her house. She situates herself, her identity and her culture in a spatial way. My grandmother is her house and that house is my grandmother. Still today my grandmother tells me that there is no better place to be than in her house. This place is a guarantee of freedom, autonomy and security, the certainty that her story belongs to her only while she is able to inhabit it.

Merchant's House Museum is haunted. While it functions as a historic house museum in Manhattan, the house remains the home of the Tredwell family who now appear as ghosts. For the museum, these ghosts become animating presences, continuing to keep the everyday things of the house embedded in the intimate space of a family's home. Throughout this article, I explore how those connected to the house as staff, visitors, and volunteers present the ghosts of the Tredwells and, based on these peoples' experiences, I examine the Tredwell house within a museological framework of, what I term, haunted intimacy, that keeps the house in vital relation to the family.

In this document, which is meant as an aid to invited participants, we loosely frame the questions that will be addressed in the forthcoming Expert Workshop 'Culture, Value and Attention at Home', to be held at Liverpool Hope University, 22nd May 2014. We begin by discussing the four terms in our title: ‘culture’, ‘value(s)’, ‘attention’, and ‘home’, followed by a discussion of each of the four sessions: Music and Sound, Audiovisual Media, Interior Design, and The Senses and Material Culture. The invited speakers will be: Christina Baade (McMaster University, Ontario), Franco Fabbri (University of Turin), Felicity Ford (Oxford Brookes University), Francesco Casetti (Yale University), Áine Mangaoang (University of Liverpool), Ashley Brown (University of Manchester), Grace Lees-Maffei (University of Hertfordshire), Caron Lipman (Queen Mary University of London), Michael Bull (University of Sussex), Zafer Yenal (Boğaziçi University, Istanbul) and Irene Cieraad (Delft University of Technology). The document ends with a brief reading list as a way to begin to create some shared vocabulary and theories.

Review of 5 books focusing on daily life in the ancient Near East and Egypt - discussion of women and daily life - gendered issues in the discussion of daily life - the failure of some books about daily life to consider women's roles in the household and in the subsistence economy

Books are by Karen R. Nemet-Nejat; Oded Borowski; Richard E. Averbeck, Mark W. Chavalas, and David B. Weisberg, eds.; Philip J. King and Lawrence E. Stager; Lynn Meskell

To build a house for himself (or parents, being the closest kinship) is dangerously euphoric for an architect.  In this position, an architect’s interior and exterior are forced to collide.  It is either a fairy tale where no conflict is allowed, or a hide-out where antagonism is consciously avoided.  But the process of designing is not quiet, nor romantic.  It is developed with a mute violence.


In his statement for Father’s House, an edifice originally designed and built for his father, Ma Qingyun, one of China’s most prolific young architects, hints at how domesticity, often considered peripheral to the public domain but conversely central to the individual’s development, may resurface as a complex site for self-definition.  Here, where ‘interior and exterior are forced to collide’, the house is a space where different, and sometimes conflicting, notions of ‘home’ are played out.  In Father’s House, the concepts of origin, Ma’s ‘Chineseness’, the authorial father figure and a domestic scene influenced by sentiments of filiality become key.  These aspects highlight contemporary architectural questions of ‘home’, couched in an East Asian architectural context, albeit one that has been become much more global in the last two decades.

The paper attempts to unpick, connect and offer a critical iteration of such questions.  In doing so, it explores a kind of domesticity, which may be described as strategically ambivalent in terms of its aesthetics and possible interpretations – neither global-capitalist nor local-vernacular; neither patriarchal nor non-patriarchal; neither Chinese nor non-Chinese. 

A similar ambivalence is strikingly reflected in the architect’s trajectory.  Ma (b. 1965, Xi’an) now resides in Pasadena, California and has been Dean of the University of Southern California School of Architecture since 2006.  As much as he has collaborated with Rem Koolhaas on several occasions (most recently for Beijing’s CCTV project), the independent output of Ma’s provocatively named practice - MADA s.p.a.m. (‘strategy, planning, architecture, media’) - has been equally lauded.  Thus, Ma himself exemplifies the shape-shifting, transnational, cross-cultural architectural figure gliding effortlessly between ‘East’ and ‘West’.

Father’s House is key towards understanding the performative nature of a kind of Chinese domesticity, one which I argue, is operationally and semantically ambivalent.  It works through a series of contradictions yet prevailing above these; being at once a recognizable sculptural box yet emphasizing locality in its craft and materials, exalting a father-son relationship yet remaining conspicuously unoccupied (Ma’s father abandoned the countryside to become an urbanite), sentimentally evoking the bucolic Chinese plains of Jade Valley while strongly reminiscent of Dutch architectural aesthetics.  Following this, what can one make of the relationship between this house and its possible claims to identity, memory and origin?  Is Father’s House an empty signifier that further mystifies ‘China’?

In attempting to address these questions, the paper draws on ideas of domesticity, juxtaposing these arguments against Rey Chow’s proposition of filiality as a performative strategy for East Asian self-definition.  Filiality is sustained when it is enacted through ritualized practice.  Father’s House enacts filiality by revisiting native building traditions, materials and hierarchical relationships between self, family and state, but crucially subjecting such traditions and relationships to acts of ‘mute violence’ in its subtle re-appropriation and transformation of canonical architectural forms and meanings.  This ‘violence’ or radicalism is routed towards individual self-expression and visibility, a quality alien to Chinese Confucian tradition, which is ‘traditionally inclusive, not insular, and strongly hierarchical’.

While it may be convenient to categorize Ma’s house as a return to Chinese vernacularism, there is compelling evidence based on the architect’s public perspectives, training and his conscious use of Western imagery and influences, which inform otherwise.  Hence, any urge to uncover an authentic form of modern Chinese domesticity within this architecture is superceded by a more urgent need to understand where domesticity may be positioned within China’s diasporic elite, and how it could be expressed, specifically through this house. 

Ultimately, through an examination of the aesthetics, tectonics and politics of Father’s House, the intention is to argue for a notion of ‘home’ that is performed, that is, a provisional site with tenuous meanings, which are continually structured and re-structured in relation to changing ideas of family, lineage, and a transnational imagination.

Soutenance de thèse "Poétique de la domestique en France et au Río de la Plata, de 1850 à nos jours"
Candidate Lucia Campanella, Université de Perpignan, 1 octobre 2016.
Jury composé par: Camille Dumoulié, Nathalie Solomon, Michela Gardini, Nella Arambasin, Pénelope Laurent et José Garcia - Romeu.