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Cet article s’intéresse aux enjeux familiaux, sociaux et institutionnels de la construction d’une forme d’« autonomie intime » par les jeunes femmes dans le contexte de la Turquie contemporaine. Dans cet article, l’« autonomie intime » renvoie à l’idée selon laquelle l’individu est défini comme « auteur de ses activités » dans sa vie privée et sexuelle. Les jeunes femmes célibataires, font souvent l’objet d’une double représentation : à la fois considérées comme de potentielles victimes sexuelles ou des corruptrices morales, elles sont soumises à une surveillance qui s’exerce au nom de la « protection ». La famille est la principale structure responsable de cette « protection », et l’espace domestique reproduit des mécanismes de contrôle visant à réguler le corps et la sexualité des jeunes femmes. Mais comment cela continue-t-il si les jeunes femmes s’éloignent de la zone de surveillance ? Le cas des étudiantes partant à Istanbul pour leurs études universitaires constitue un cadre pertinent pour l’étude de cette question. L’article fait l’hypothèse que cette mobilité, considérée au premier abord comme une échappatoire aux normes sexuelles en vigueur, ne signifie pas pour autant un voyage linéaire vers l’émancipation sexuelle. Les habitations estudiantines jouent ici un rôle important. Afin d’éclairer les relations existantes entre jeunes femmes, intimité, espace et structures de contrôle, l’article examine d’abord les rapports de pouvoir au sein de l’espace domestique et les marges de manœuvre dont disposent les jeunes femmes habitant chez leurs parents. Ensuite, le départ à Istanbul et les nouveaux espaces habités (les résidences étudiantes et les (co)locations) sont présentés. Ces logements, surveillés par les institutions et les résidents des quartiers où ils sont situés, prennent en charge le rôle de la famille patriarcale concernant la « protection » morale des femmes. J’appelle ces espaces des « espaces domestiqués » car visant la « domestication » d’une sexualité féminine redoutée en l’absence de contrôle familial, tout en étant des espaces façonnés par les subjectivités des jeunes femmes. La « domestication » patriarcale de la sexualité des femmes et des espaces privés ne veut pas dire une obéissance totale des jeunes femmes, les tactiques de contournement sont ainsi analysées. A travers des exemples tirés du terrain, j’illustre comment l’agentivité (agency) individuelle et la résistance quotidienne s’articulent avec le respect de la morale collective. Ces jeunes femmes participent ainsi de ce processus de domestication patriarcale tout en le contournant. Enfin, la non-linéarité de l’émancipation sexuelle, le passage à l’âge adulte et l’évolution des rapports de genre et intergénérationnels sont étudiés à travers le suivi des allers-retours des jeunes femmes entre espaces domestiques et domestiqués. L’article conclut que les règles de ces espaces n’empêchent pas les femmes de rechercher les voies conduisant à l’émancipation sexuelle, et qu’elles construisent leur individualité et leur accès à la sexualité au carrefour de normes sexuelles et d’attentes morales différentes. Une autre conclusion importante est faite sur l’évolution des structures de pouvoir, notamment au sein du logement parental où les relations familiales sont marquées à la fois par le conflit, la divergence, le compromis, la négociation, la solidarité et l’affection. À cet égard, l’article prend en compte le caractère mouvant des relations et des espaces. Cet article utilise des données obtenues dans le cadre d’une recherche en master à l’EHESS. Il s’appuie sur une enquête sociologique menée entre 2018 et 2020 auprès de jeunes femmes installées à Istanbul sans leurs proches. Ces jeunes femmes – âgées entre 20 et 25 ans, étudiantes ou récemment diplômées – avaient intégré des universités publiques ou privées d’Istanbul et habité dans les résidences étudiantes et en (co)locations. L’enquête de terrain a consisté à mener des entretiens individuels semi-directifs regroupant des questions sur le départ du domicile familial et l’installation à Istanbul, l’évolution des rapports familiaux suivant la mobilité géographique et la construction de l’autonomie intime dans une recherche de liberté sexuelle. Les entretiens effectués ont été accompagnés par une ethnographie de terrain consistant à faire des observations et des conversations informelles dans des lieux de socialisation estudiantine, parmi lesquels des campus d’universités, cafés, bars et boîtes de nuit. This article focuses on the familial, social and institutional issues related to the construction of a form of “intimate autonomy” by young women in the context of contemporary Turkey. In this article, “intimate autonomy” refers to the idea that the individual is defined as the “author of their action” in their private and sexual life. Young unmarried women, often viewed as potential sexual victims or corrupters of the moral order, are subject to surveillance in the name of “protection.” The family is the main structure responsible for this “protection”, and the domestic space reproduces mechanisms of control that aim to regulate young women’s bodies and sexualities. But how is control exercised when young woman physically moves away from family’s surveillance? The case of female students going to Istanbul for their university studies provides a relevant framework for the study of this question. The article makes the hypothesis that this mobility into the city, which is considered at first sight as an escape from the dominant sexual norms and from parental control, does not however mean a linear journey towards sexual emancipation. Student accommodations play an important role here. In order to shed light on the relationship between intimacy, space, young women and structures of control, the article first examines the power relations within the domestic space by describing the leeway available to young women living with their parents. Then, the departure to Istanbul and the new living spaces (student dormitories and (co)rentals) are presented. These residential spaces are regulated by institutions which are in charge of maintaining the moral order and of undertaking the role hold by families in regards to the moral “protection” of women. I call these spaces “domesticated spaces” where “taming” women’s sexuality is at play in the absence of parental control. I take inspiration from the researches of Suad Joseph (1997) who shows the fluidity of boundaries between what she defines as the governmental, non-governmental and domestic spaces, to explain the permeability of moral values from one space to another. The patriarchal “domestication” of women’s sexuality and of private spaces is not unanswered, thus the article analyzes the tactics of circumvention and so-called conformism. Through some examples taken from my fieldwork, I illustrate how individual agency and daily resistance are articulated with the respect for the collective morality. Finally, the non-linearity of sexual emancipation, the transition to adulthood and the evolution of gender and intergenerational relations is studied through the following of the back-and-forth journeys of young women between domestic and domesticated spaces. The article concludes that the rules of these spaces do not refrain women to search for ways leading to sexual emancipation. It also underlines that these women construct their individuality and their access to sexuality at the crossroads of different sexual norms and moral expectations. Another important conclusion is made on the changing of power structures, especially within the parental house where family relationships are marked simultaneously by conflict, divergence, compromise, negotiation, solidarity and affection. In this regard, the article takes into account the moving nature of relationships and of spaces. This article uses some of the data I collected during a master’s research at the EHESS. It draws from a sociological survey conducted between 2018-2020 among young women living in Istanbul without their families. These women, most of them being heterosexual and aged between 20-25, were mainly issued from middle-class families from different towns and villages in Turkey. At the time of my enquiry, they were students or recent graduates. They had integrated public or private universities in Istanbul and lived in student dormitories or in (co)rentals. The field survey consisted in conducting semi-structured individual interviews bringing together questions about their experience of leaving the family home and settling in Istanbul, but also about the evolution of gender and family relations following student mobility to Istanbul. These interviews were accompanied by observations and informal conversations which took place in different spaces of student socialization, such as university campuses, cafes, bars, or nightclubs. يهتمّ هذا المقال بالقضايا العائلية والاجتماعية والمؤسساتية لبناء شكل من «الاستقلالية الحميمة» من قبل الشابات في سياق تركيا المعاصرة. ففي هذه المقال، يشير مصطلح «الاستقلالية الحميمة» إلى فكرة تعريف الفرد كـ«صانع لأنشطته» في حياته الخاصة والجنسية. وغالبًا ما تكون الشابات العازبات موضوع تمثيل مزدوج: حيث يتم اعتبارهن في آن واحد ضحايا جنسياتٍ محتمَلات أو مفسِدات للأخلاق، فإنهن يخضعن لمراقبة تُمارَس عليهن باسم «الحماية». والأسرة هي البُنية الرئيسية المسؤولة عن هذه «الحماية»، والفضاءُ المنزلي يعيد إنتاج آليات التحكم التي تهدف إلى تنظيم الجسد والحياة الجنسية للشابات. ولكن كيف يستمر هذا إذا ابتعدت الشابّاتُ عن منطقة المراقبة؟ إنّ حالة الطالبات اللواتي يذهبن إلى اسطنبول من أجل دراستهن الجامعية تشكِّلُ إطارًا ملائمًا لدراسة هذه المسألة. فالمقال يفترض أن هذا التنقل الذي يعتبر للوهلة الأولى هروبًا من الأعراف الجنسية السارية لا يعني رغم ذلك رحلة خطية نحو التحرر الجنسي. حيث إن مساكن الطلاب تلعب هنا دورًا مهمًا. من أجل تسليط الضوء على العلاقات بين الشابات والحميمية والحيّز المكاني وبُنَى التحكُّم، يَدرُس المقال أولاً علاقات السلطة داخل الفضاء المنزلي وهوامش المناورة التي تمتلكها الشابات اللواتي يعشن في أهلِهِنَّ. بعد ذلك، يَعرِض رحلةَ اسطنبول والفضاءاتِ الجديدةَ المأهولة (سكن الطلاب والإيجارات (المشتركة)). إن هذه المساكن التي تخضع لمراقبة المؤسسات وسكَّان الأحياء التي تضمُّ هذه المساكن تتكفّل بدور الأسرة الأبوية في «الحماية» الأخلاقية للمرأة. وأُسَمِّي هذه الفضاءات «فضاءات مُدَجَّنة» لأنها تهدف إلى «تدجين» الجنس الأنثوي الذي يشكّل مصدر خَؤف في ظل غياب مراقبة الأسرة، مع أنها فضاءات تشكلها النزعات الذاتية للشابات. إن «التدجين» الأبوي للحياة الجنسية للمرأة والفضاءات الخاصة لا تعني طاعة كاملة للشابات، وهكذا سيتم تحليل أساليب التحايل. من خلال أمثلة مستقاة من ميدان البحث، فأُوضِحُ كيف تترابط الفاعلية الفردية والمقاومة اليومية مع احترام أخلاق الجماعة. وهكذا تُشارِكُ هؤلاء الشاباتُ في عملية التدجين الأبوي وهنّ يتحايلنَ عليها في الوقت نفسه. وفي نهاية المطاف، سنَدرُس لاخطية التحرر الجنسي والانتقال إلى مرحلة البلوغ وتطور العلاقات الجندرية والعلاقات بين الأجيال من خلال متابعة تحركات الشابات ذهابًا وإيابًا بين الفضاءات المنزلية والفضاءت المُدَجَّنة. ويخلص المقال إلى أن قواعد هذه الفضاءات لا تمنع النساء من البحث عن طُرُق تؤدِّي إلى التحرر الجنسي ومن أنْ يَـبـنـينَ فرديتهُنَّ ووصولهن إلى الحياة الجنسية عند مفترق طرق بين الأعراف الجنسية وما يُنتظَر منهنَّ على الصعيد الأخلاقي. وتوصّلنا إلى استنتاج آخر مهم حول تطور هياكل السلطة ولا سيما داخل منزل الأهل حيث تتميز العلاقات الأسرية بالنزاع والاختلاف والتسوية والتفاوض والتضامن والمودة. وفي هذا الصدد، يأخذ المقال في الاعتبار الطبيعة المتغيرة للعلاقات والفضاءات. يستخدم هذا المقال البيانات التي تم الحصول عليها ضمن إطار بحث الماجستير في مدرسة الدراسات العليا في العلوم الاجتماعية EHESS. ويعتمد على مسح سوسيولوجي أُجريَ بين عامَي 2018 و 2020 بين الشابات اللواتي يَسكُنَّ في إسطنبول بدون أقاربهن. إنَّ هؤلاء الشابات - اللواتي تتراوح أعمارهن بين 20 و 25 عامًا، سواءً كُنَّ طالباتٍ أو متخرِّجاتٍ حديثًا – قد تسجَّلنَ في جامعات عامة أو خاصة في إسطنبول وعِشنَ في مساكن للطلاب وفي إيجارات (مشتركة). ويقوم المسح الميداني على مقابلات فردية شبه منظمة تضمّ أسئلة حول ترك منزل الأسرة والاستقرار في إسطنبول وتطور العلاقات الأسرية وفقًا للتنقل الجغرافي وبناء الاستقلالية الذاتية في البحث عن الحرية الجنسية.وقد رافق المقابلات التي أُجريت دراسةٌ إثنوغرافية ميدانية تقوم على ملاحظات ومحادثات غير رسمية في أماكن التنشئة الاجتماعية للطالبات، بما في ذلك حرم الجامعات والمقاهي والحانات والنوادي الليلية.

Housing is a basic human need and a fundamental component of settlement status. The architectural form and spatial provisions of housing evolve in line with—and transform to meet—a specific era’s needs. Globalization has been responsible for changing the nature of housing in Qatar over the last thirty years. It has led to a standardization of construction methods and built form, representing a dramatic departure from past models of vernacular residential architecture. In light of these challenges, the ultimate purpose of this study is to explore the spatial and cultural features in a small sample of contemporary housing in Qatar. It explores the spatial layout of four Qatari residential villas to assess the social and cultural roles in contemporary housing models against the background of previous research. In the study, the authors utilized space syntax as an analytical tool to demonstrate patterns of visibility and room relations in the samples to understand occupants’ system of activities in the contemporary domestic setting, deploying visibility graph analysis (VGA) and relational graphs. Key findings include the interpretation of the probable relation to socio-cultural factors such as gender roles, hospitality, and privacy. Hence, this study fills gaps in knowledge about Qatari and Middle Eastern housing today.

[ES] La aceptación de una sociedad cambiante y con ella el surgimiento y/o aumento de nuevos núcleos familiares, dan como resultado transformaciones en los modos de habitar, los cuales se evidencia en la configuración de la ciudad y sobre todo de la vivienda. Factores como la globalización, el empoderamiento femenino, innovaciones tecnológicas, pandemias globales, entre otras, resultan en un cambio en el estilo de vida de las personas, planteando nuevas necesidades en los usuarios, para los que la vivienda debe de ser capaz de adaptarse en función a estas nuevas formas de habitar. La investigación se lleva a cabo en la ciudad de Manta-Ecuador, tras valorar y realizar un estudio comparativo de viviendas en los diferentes casos de estudios, en el cual se observan características como: área, zonificación, acabados, sus usuarios, etc., Cualidades que permiten establecer las diferencias de uso en los espacios interiores de la arquitectura residencial según la unidad familiar que lo habita., [EN] The acceptance of a changing society and with it the emergence and/or increase of new family nuclei, result in transformations in the ways of living, which is evident in the configuration of the city and especially of housing. Factors such as globalization, female empowerment, technological innovations and global pandemics, among others, result in a change in people's lifestyles, raising new needs in users, for whom housing must be able to adapt to function to these new ways of living. The research is carried out in the city of Manta-Ecuador, after assessing and carrying out a comparative study of housing in the different case studies, in which characteristics such as area, zoning, finishes, its users, etc., are observed. Qualities that allow the establishment of the differences of use in the interior spaces of residential architecture according to the family unit that inhabits it.

Smart speakers and the myriad of IoT devices that can be associated with them introduce many sensors into the domestic space, starting with sophisticated microphones, but also increasingly cameras or motion detectors. Connected to the Internet, they are operated by powerful companies like Google or Amazon, whose business model consists of exploiting the data produced by their users in order to profile them. Their introduction into domestic spaces, historically constructed as the places of self care and personal or family intimacy, provokes marked reactions of rejection from many individuals. Experience shows that tracking practices on the Internet have already led to a strong erosion of privacy online. Could the extension of the digitization of the World to domestic spaces lead to the end of the home as a space perceived and conceived as the paroxysmal place of privacy?; Les enceintes connectées et la myriade de périphériques de l’Internet des objets qui peuvent leur être associés introduisent dans l’espace domestique de nombreux capteurs, à commencer par des microphones perfectionnés, mais aussi de plus en plus des caméras ou des détecteurs de mouvement. Connectées à Internet, elles sont opérées par des entreprises très puissantes comme Google ou Amazon, dont le modèle d’affaires consiste à exploiter les données produites par leurs utilisateurs afin de les profiler. Leur introduction au sein des espaces domestiques, historiquement construits comme les lieux par excellence du ressourcement et de l’intimité personnelle ou familiale, provoque des réactions de rejet marquées de la part de nombreux individus. L’expérience montre en effet que les pratiques de traçage sur Internet ont déjà mené à une forte érosion de la vie privée en ligne. L’extension de la numérisation du Monde aux espaces domestiques pourrait-elle mener à la fin du domicile en tant qu’espace perçu et conçu comme le lieu paroxystique du privé ?

What is the added value of visiting migrants’ current and previous houses when investigating the transnational circulation of home? This chapter addresses this question, drawing on ethnographic research in houses inhabited by Peruvian migrants in England and Spain and by their relatives in Peru. Through the analysis of how the domestic space is organised and how individuals interact with their everyday materialities we can better understand the transnational circulation of home. Some objects can help those living at both ends of a migration corridor to feel emotionally and symbolically connected. As my empirical findings show, ordinary materialities play multiple roles in keeping families connected across transnational spaces. Moreover, everyday materialities afford migrants to be connected not only to the family members who stayed put but also to those who passed away. More broadly, engaging with migrants and their significant others’ domestic spaces contributes to conceptualise transnational homemaking. By entering into people’s domestic space migration, researchers can better understand the emotional and even spiritual connections that migrants and those affected by the migration of others establish with those objects and with people that no longer dwell with them. In short, we can better understand the ‘secret life’ some individuals built with their objects.

A las viviendas en personas mayores habitualmente no se les otorga con la importancia que merecen, como usuarias habitantes, considerando como persona mayor a las usuarias cuyas habilidades o necesidades se ven deterioradas debido a las limitaciones que les impone la senectud. El tema escogido es la evaluación de las viviendas habitadas por personas mayores en entornos rurales y urbanos. La relevancia del tema se encuentra en la posibilidad de mejora de estas viviendas dentro de una sociedad envejesciente (según el INE: la población de 65 y más años supondría el 26% del total en el año 2037). Los medios de mejoría cómo, por ejemplo: las estrategias de proyecto o las normativas de diseño de estas viviendas. Éstas surgen a través de un estudio comparativo de diferentes tipologías de vivienda habitadas por usuarias mayores. El estudio comparativo se realiza en dos formas tipológicas de vivienda de personas mayores, en este caso, cuatro personas mayores muy cercanas a mí, mis abuelos. He elegido a estas usuarias tras una reflexión objetiva, llegando a la conclusión de que estas cuatro presentan modos de vida dentro de su vivienda muy dispares entre sí. El primer caso de estudio lo protagoniza un piso dentro de un bloque de vivienda urbana situado en un entorno urbana, concretamente en una ciudad urbana. El segundo caso de estudio es complementario al primero, corresponde a una vivienda unifamiliar de cinco plantas que se ubica en un pueblo rural. La investigación se efectua por medio de la fotografía comparativa, la planimetría de los espacios pertenecientes a las tipologías de vivienda, y las actividades realizadas por las usuarias protagonistas. Así como también las entrevistas mediante las cuales se obtienen respuestas propias de cada usuaria a diversas cuestiones sobre su perspectiva en las modalidades de vivienda nombradas. Como consecuencia al análisis tipológico de las modalidades de vivienda, mencionadas anteriormente, unas entrevistas sobre cómo serían las vidas de las usuarias al envejecer fuera de su vivienda completarán el estudio comparativo. Mediante entrevistas se crean las hipótesis teóricas sobre las adaptaciones del tipo de vida, de las usuarias, a estas nuevas tipologías. Con estas herramientas de trabajo se obtienen ciertas pautas o guías para poder adaptar los espacios destinados a las personas mayores a sus modos de vivir y habitar. Homes for the elderly people are not usually given the importance they deserve, as resident users, considering as elderly users whose abilities or needs are deteriorated due to the limitations imposed by old age. The theme chosen is the evaluation of homes lived by elderly people in rural and urban environments. The relevance of the topic lies in the possibility of improving these homes within an aging society. According to the INE: the population aged 65 and over would account for 26% of the total in the year 2037. The means of improvement such as, for example: project strategies or design regulations for these homes. These arise through a comparative study of different types of dwellings inhabited by older users. The comparative study is carried out in two typological forms of housing for the elderly, in this case, four elderly people who are very close to me, my grandparents. I have chosen these users after an objective reflection, coming to the conclusion that these four ways of living inside their home are very different from each other. The first case study is carried out by an apartment within an urban housing block located in an urban environmentThe second case is complementary to the first, it corresponds to a single-family house with five floors that is located in a study town. As a consequence of the typological analysis of the forms of housing mentioned above, some interviews on what the lives of the users would be like when they grow old outside their home will complete chapter two. Through these interviews about how each user would live, theoretical hypotheses are created about the adaptations of the type of life, of the users, to these new typologies. The research will be carried out through comparative photography, the planimetry of the spaces belonging to the housing typologies, and the activities carried out by the main users. As well as the interviews through which each user’s own answers were obtained to various questions about their perspective in the named housing modalities. With these work tools they will obtain certain guidelines or guides to be able to adapt the spaces destined for the elderly to their ways of living and inhabiting.

Mon mémoire de recherche porte sur les représentations sur scène des différents types de folie féminine se retrouvant dans les pièces Hamlet de William Shakespeare et The Changeling de Thomas Middleton et William Rowley. Ceci est principalement réalisé par la rencontre de notions comme le genre, le corps féminin et les espaces domestiques. Dans mon analyse, je me base sur les conceptions de la folie qui prévalaient durant la Renaissance, en tandem avec les connaissances actuelles sur les traumatismes et les troubles mentaux. J’ai considéré dans ce mémoire la folie des personnages, simulée ou réelle, comme des formes d’(in)capacité mentale. Ce mémoire offre donc un point de vue nouveau sur la perception de la détresse féminine au début de l’époque moderne. Divisé en deux chapitres, le premier traite des causes engendrant le passage de la psyché d’Ophélie d’un état de lucidité à un état de folie, en mettant l’accent sur l’effet de sa jeunesse sur sa santé mentale. Le second chapitre s’intéresse aux états mentaux d’Isabella et de Beatrice-Joanna, respectivement, à travers l’intégration de concepts comme les troubles mentaux forgés, le ravissement et les traumatismes. Il est à mentionner à propos de cette démarche que ces personnages brouillent les distinctions entre la lucidité et la folie., My thesis examines the on-stage manifestations of the different types of female madness presented in William Shakespeare's Hamlet and Thomas Middleton and William Rowley’s The Changeling. This is mainly accomplished through the exploration of the interwoven relations between notions such as gender, the female body, and domestic spaces. In my analysis, I primarily draw on the Renaissance understanding of madness in tandem with modern trauma and disability theories. I read the madness of these characters, feigned and real, as forms of mental (dis)ability. This thesis thus offers novel insights on the perception of early modern female distraction. Divided into two chapters, the first deals with the causes engendering the metamorphosis of Ophelia’s psyche from a state of sanity into a state of madness, placing emphasis on the effect of her youth on her mental transition. The second explores Isabella and Beatrice-Joanna’s mental dispositions, respectively, through the incorporation of concepts such as dissembled disability, ravishment, and trauma. In this endeavor it is noteworthy that these characters blur the lines between sanity and madness.

S’ils n’ont pas suspendu l’activité dans tous les secteurs de production, les confinements successifs de mars 2020 à mai 2021 ont entravé, par des restrictions et autres jauges, l’accès aux espaces professionnels en limitant le nombre de personnes autorisées à être présentes dans un espace donné. Je n’ai pu poursuivre mon ethnographie dans des ateliers artisanaux de maroquinerie qu’en me rendant dans l’atelier d’une jeune marque parisienne situé au domicile d’un de ses fondateurs. L’observation participante effectuée dans ce lieu hybride, un espace privé néanmoins consacré à l’exercice professionnel, a été l’occasion d’interroger l’existence d’une frontière entre le travail et le non-travail. L’activité professionnelle exercée au sein du foyer est à la fois emblématique du caractère artisanal de celle-ci et représentative de nouvelles formes de travail qui diffèrent du salariat depuis la révolution numérique d’Internet. Définir où s’arrête l’activité professionnelle et où commence le « hors-travail » dans le temps et dans l’espace s’avère d’autant plus difficile. Cet article présente une méthodologie qui tente de répondre à ces difficultés en s’appuyant sur du dessin ainsi que du texte. Les supports ainsi élaborés constituent à la fois un outil de prise de notes, une étape nécessaire de l’analyse des données et le support de restitution de l’enquête. From March 2020 to May 2021, several lockdowns have modified field access for anthropologists observing professional spaces. If professional work was rather slowed down than fully suspended, the amount of people in working spaces was regulated by sanitary measures. I was only able to carry on my ethnographic fieldwork in leather workshops by observing a young Parisian brand that received me in one of the two co-founders’ flat, where both had set their workshop. The participant observation of private life and professional work in this hybrid space raises the following question : is there a border isolating personal life from work ? Working at home is both faithful to the historic tradition of crafts and illustrates new forms of professional activity as reshaped by Internet since the 1990’es.By trying to overcome the hurdle of identifying what belongs to work and what belongs to private life, a visual anthropology’s method has been set. Using pictures (drawings based on photographs) and texts, a hybrid format close to comics has been adopted. Working on the layer boards gather the visual notes taken during the field study, the analysis of the data and is used to return the ethnographic survey.

S’appuyant sur l’analyse des observations détaillées d’un « habiter confiné » réalisées par des étudiants en école d’architecture, cet article veut documenter le vécu de la pandémie, véritable épreuve collective remettant en question les rapports entretenus à nos espaces quotidiens qui sont autant matériels que sociaux. Si les analyses conduites ici viennent souligner des phénomènes déjà connus, elles mettent aussi en évidence des appropriations renouvelées qui pourront s’inscrire durablement dans une nouvelle « syntaxe habitante », faisant de la place au télétravail, et soutenant un rapport à l’extérieur révélé dans toute son importance. En nous privant d’un répertoire spatial large, le confinement nous a menés à recomposer nos territorialités et à une évaluation inédite de notre cadre matériel et de la valeur de nos spatialités. Based on the analysis of detailed observations of a « confined living » carried out by students in a school of architecture, this article aims to document the experience of the pandemic, a real collective test calling into question the relationships maintained with our daily spaces. which are both material and social. If the analyzes conducted here highlight phenomena that are already known, they also highlight renewed appropriations that could be permanently part of a new « inhabitant syntax », making room for telework, and supporting a revealed relationship with the outside in all its importance. By depriving us of a broad spatial repertoire, confinement has led us to recompose our territorialities and to an unprecedented evaluation of our material framework and the value of our spatialities.

This article presents the ongoing research on sustainable construction systems, in terms of interior partitions, as alternatives to masonry or plasterboard techniques. Emphasis was given on assembly’s simplicity, to guarantee an easy execution by anyone without specific preparation or knowledge in construction (so the common dweller can respond quickly and effectively to the changing behaviour and needs of the household), but also to emergencies resulting from unforeseen circumstances, such as the current pandemic situation. The research was grounded on the use of materials with a reduced ecological footprint (based on Portuguese forest resources), and on modular construction processes (adaptable to most pre-existing situations). Additionally, such materials should allow a successive assembly and disassembly, using the same construction elements, a feature in which we can truly defend a decreased environmental impact. The purpose is to minimize waste and to create a circular economic circuit that continues after its components’ lifespan, whose materials allow them to be recycled for other uses. Methodologically, the existing partition systems, in terms of patenting but also market availability, were surveyed and analysed. Simultaneously, the consequences of the household’s behavioural changes in the domestic space, as well as those imposed by lockdown and remote work, were studied for our proposals to respond to the assessed needs more effectively, in terms of privacy, and thermal and noise isolation. The collected information was used to create several proposals for interior partitions, exploring different construction and assembly processes, with variable degrees of complexity (later prototyped to measure its viability), to reply to the dweller’s different requirements in response to everyday life or exceptional circumstances., {"references":["Afonso, A. I. (2000). 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Telling a story (monogatari) about the Japanese kitchen inevitably entails reflecting on the most celebrated architectural typology in the country, the detached house. After World War II, it became the basic unit that shaped the Japanese urban landscape. Rapid economic growth resulted in a clear pattern not only in the housing market but also in family composition. Influenced by western models, conventional gender roles were embodied in the breadwinner (salaryman), related to corporate centers, and the full-time homemaker (sengyō shufu), associated with the domestic space. Among all the rooms, the kitchen was the clearest in its premise: the place where the wife cooks. This gender construct was encoded in its spatial articulation, with the kitchen being hidden from the rest of the house and usually occupying a dead-end position. Japanese architects have challenged these conventions through radical house designs, often praised for their smallness, whiteness, and lightness. However, it is necessary to go beyond this ‘fetishization’ to evaluate these proposals for the relationships they pose. Their bold designs are not only ground-breaking in formal terms but go further, subverting normative notions of domesticity and suggesting alternative gender ‘performativities’ in architecture. The kitchen is often the site of the most outstanding experimentation, materializing inventive concepts of living. Questions concerning technology, economy, and above all, gender unfold in this domestic workplace. If connected or isolated, visible or hidden, it materializes power relations through architectural actions. From a critical gender perspective, this article takes Japanese houses from the 20th century to the present day, showing diverse strategies and exposing those architectural principles and social conventions against which they rebel. These houses foster the creation of alternative realities, disrupting preconceived ideas of what is a kitchen, what is a house, or what is a family

A través del análisis de Las malas intenciones (Rosario García Montero, 2011) y Maruja en el infierno (Francisco Lombardi, 1983), propongo explicar cómo la representación de personajes femeninos protagónicos es el resultado de la mirada cinematográfica a una sociedad devastada (la Lima de inicios de los ochenta) ante el final y fracaso de proyectos nacionales que no lograron despojarse de su matriz colonial. Mientras la primera película retrata una sociedad decadente, cercada por una insurrección que, desde los cerros aledaños a la ciudad, logra ingresar al propio espacio familiar, la segunda nos muestra la devastación como un hecho concreto donde los supervivientes dan rienda suelta a brutales pasiones y ambiciones individuales. Lima, asiento de los fallidos proyectos de industrialización y modernización, pasa por la mirada apocalíptica de Cayetana en Las malas intenciones, hasta llegar a la atmósfera post apocalíptica e irracional de Maruja en el infierno, donde Maruja lucha por sobrevivir.

The confinement that originated in order to mitigate the COVID-19 pandemic has repercussive effects on different activities of daily life. This research seeks to identify transformations generated in the households of Ciudad Juarez, Chihuahua, through modifications in the use and order of essential areas. The methodology used is that of a mixed type, applying qualitative and quantitative tools, which account for the use of spaces and their transformations during the confinement by COVID-19. The results observed are identified changes that generate asynchronous spaces in the family’s daily environment, modifying the previous organization and structure of the use of the dwelling.

Women’s lives have been affected exponentially by the COVID_19 pandemic. In this paper, we explore some of the ways in which women’s everyday experiences of paid and unpaid labour have exacerbated pre-existing gender inequalities. We examine the impact that the pandemic has had on women’s experiences within the domestic sphere, as hyper-normative and historical representations of women as the ‘natural’ primary carers for children and the home have resurfaced. For many, this has led to an almost unbearable pressure to provide full-time domestic care while simultaneously holding down paid work. Drawing on theoretical feminist debate, which has emphasised the importance of intersectional approaches to gender, the paper shows how the fusion of domestic worlds and public lives has brought domestic issues and challenges to the fore and has meant that women’s participation in paid work has been disproportionately affected by the pandemic in a number of ways. Women have an increased likelihood of, first, furlough and redundancy; second, of working in ‘high-risk’ jobs; third, of experiencing poverty; and fourth, of bearing the brunt of domestic labour and childcare intensified during the pandemic. Written by both an academic and practicing full-time politician, it offers a unique perspective on this subject.

Low-income government provided housing has been continually transformed by its beneficiaries, especially women. The transformations are a major sign that there is discontentment about the houses since low-income households are excluded from the design process of these houses. By transforming the houses, the low-income households are trying to fit their houses or environments to their ways of living. This paper intends to review the housing transformations at the Masese Women’s Self-Help Housing Project at Masese, Jinja, in Uganda to understand how women practice space. Studying the spatial alterations can help guide architects towards finding inclusive housing design approaches that can benefit the low-income households and prevent governments and donors from spending finances on futile housing prototypes that get eventually abandoned. The paper adopts a qualitative methodology comprising of precedent studies at Masese, and a literature review to analyse the various housing transformations in an attempt to address the problem of inadequate housing for low-income households.

In this article, I examine intimacy in friendship through spatio-temporalities of everyday in Finnish communal living. Based on 31 semi-structured interviews with residents of Finnish small-scale communes, I argue that the everyday in domestic space reshapes intimacies in friendship by enhancing embodied knowledge of others gathered through continuous, routine co-presence in close spatial proximity. This phenomenon, which I call domestic density, introduces intensified negotiations of affective responsibility and personal boundaries to friendship due to the increase and diversification of intimate knowledge. Although the domestic everyday has long been central in feminist discussions of personal relations, it has yet not been examined in detail how domestic space shapes friendship intimacies when friends share a common home. Domestic space entails generative particularities of its own and needs to be included in the analysis of geographies of friendship. For the research participants, the experience of intimacy in domestic space was ambivalent. Reshaping both embodied and verbal practices, the routine everyday in domestic space created novel closeness but also an experience of emotional distance. Moreover, the interviewees utilized a variety of strategies to negotiate questions of affective responsibility and personal boundaries ranging from managing one's emotions to definitions they gave to the roommate-friendship relation.

Dans cet article, nous présentons les résultats de notre étude des usages que des femmes turques d’Istanbul font de la télévision. Dans les rapports entre écrans, postures spectatorielles, et choix de programmes, nous pouvons observer les rapports de Genre (implicites ou explicites) structurant la vie de famille. Ce travail aborde par ailleurs les manières dont les femmes vivent le Genre dans leur vie domestique ordinaire, à travers un moment en particulier : la réception d’un épisode d’une série turque populaire. En ce sens, nous voudrions montrer dans quelle mesure le Genre travaille l’organisation de la vie domestique et comment il modifie en retour la pratique télévisuelle. This paper focuses on the results of observational study to understand the use of TV by urban women in Turkey. By observing the relationship between screen, spectator posture and choice among various contents, we can understand implicit or explicit gender relations in family life. Moreover, through a reception analysis of an episode of a popular Turkish TV series, this study aims to explore the variety of gender scenarios in women’s everyday lives. In this sense, we would like to show to what extent gender affects domestic organization and how it modifies television practice in return.

The course is based on a Learning by Design and Project-Based Learning methodology, on which the project is the basis of the student’s education. The design course –architectural design– aims to offer critical reflections on the current social challenges in relation to housing and ecological issues. It integrates inquiry and study of the conditions and qualities that make a specific place inhabitable; skills on how to implement and develop building systems and techniques; and a rigorous knowledge and avid curiosity of architectural history, theory, and criticism that can operate within a particular cultural context while contributing meaningful improvements to it. In this sense, the course reflects on new residential fragments built in Aarhus through housing and domestic space in its different typologies, formats, and contexts, and the study of building systems, materiality, and tectonics. El curso se enmarca en una metodología de Learning by Design y Project-Based Learning, en la que el proyecto es la base de la educación del estudiante. El curso de proyectos –diseño arquitectónico– pretende ofrecer reflexiones críticas sobre los retos sociales actuales en relación a cuestiones habitacionales y ecológicas. Se promueve el indagar y estudiar las condiciones y cualidades que hacen que un lugar sea habitable introduciendo en la reflexión conocimientos sobre cómo implementar los sistemas constructivos y la técnica operando con un conocimiento riguroso y una curiosidad por la historia, la teoría y la crítica en arquitectura. En este sentido, el curso reflexiona sobre nuevos fragmentos residenciales construidos en la ciudad de Aarhus a través de la vivienda y el espacio doméstico en sus diferentes tipologías, formatos y contextos, y el estudio de sistemas constructivos, la materialidad y la cultura tectónica. Este curso es el resultado de la participación de los estudiantes de Studio 2C: Habitation, Building Cultures and Tectonics de los semestres de otoño 2021 y primavera 2022, y el equipo docente en dichos semestres (Nuria Casais –coordinadora–, David Tapias –coordinador–, Dan Ljungar, y María Álvarez) en la Aarhus School of Architecture (Aarhus, Dinamarca).

MBArch - Màster Universitari en Estudis Avançats en Arquitectura-Barcelona: Projecte, Procés i Programació Tratar los rastros de lo doméstico, las huellas de las acciones cotidianas, es un ejercicio que conlleva en sí mismo una gran complejidad. Hablar de domesticidad, de la casa y de lo íntimo, supone asumir una subjetividad intrínseca a los propios conceptos. Para conseguir acercarnos un poco más a todo lo que ello conlleva, se asocian términos relacionados con el mundo del arte, la literatura, el cine, la filosofía y la arquitectura. La tesis comienza tratando la idea del adentro y del afuera como método representativo de la casa en contraposición con la calle. Bajo una mirada que comienza en lo psicológico, la casa pasa a ser considerada reflejo directo de la persona que la habita, espacio de expresión máxima de su individualidad. Posteriormente, se realiza un recorrido hacia todo aquello concebido como doméstico, así como las etimologías que lo rodean. Una vez se entra en la casa, se presenta la idea de intimidad. Pasando de los factores emocionales a los físicos, las huellas presentes en el hogar son esenciales para su exposición pública. Estos elementos que definen a ojos ajenos una determinada forma de habitar, son expresados mediante objetos y acciones. Los catálogos y anuncios de IKEA son usados como forma de representación de un imaginario colectivo, donde la cotidianidad doméstica acaba por asumir unas características aparentemente específicas.

MBArch - Màster Universitari en Estudis Avançats en Arquitectura-Barcelona: Projecte, Procés i Programació. Este trabajo ha sido producto de la investigación que durante dos años ha llevado a cabo la artista Andrea Aguilera, la arquitecta Itziar Molinero y Jaime Gutiérrez, el autor del trabajo. El objeto del trabajo es un inmueble familiar que se encuentra en venta, donde todas las viviendas están deshabitadas menos una de ellas. A través de diferentes técnicas gráficas, se revela la domesticidad que queda aún impregnada en el edificio. El objetivo principal es analizar la vivienda en el umbral que discurre entre el estar habitada y la ruina. El trabajo discurre entre diferentes temas destilados del propio edificio y la vinculación con diferentes personas que han trabajado estos temas con anterioridad y construyen un catálogo de acciones y elementos que pretenden responder a la pregunta principal; qué es una vivienda cuando nadie la habita. Award-winning

The implementation and use of artificial intelligence (AI), and automatic learning in particular, are ushering in a methodological and conceptual updating of creative practices and their associated theory. The roots of these changes lie in disciplinary traditions associated with research into automatism promoted in the 1960s, with the introduction of cybernetics and computational sciences. This article focuses on the spread of the notion of authorship in architecture in the digitalization process and takes the discussion of systematic automatism in home design as a case study. For doing so it revises the main theoretical references, particularly the work by Gordon Pask, unfolds projects from the 60 s to post the main questions raised by AI today in the Design Field in respect to Authorship. While Gordon Pask suggested the transformation of the architect into a systems designer, now we can state that this is an environment in which the architect is transformed into an educator and a critic, an educator in the sense that they have to design the datasets, or conditions of possibility of learning; they have to instruct the generative and discriminative neural networks through numerous groups of “examples” and guide this learning through weighted assessment protocols.

El temps és una variable relacionada amb el concepte de canvi i evolució, com pot un edifici, essent un element fix i rígid, adaptar-se al temps? Les persones canvien amb el temps, igual que la societat, la demografia, la cultura o l'economia, i aquests canvis es tradueixen en necessitats a les quals l'arquitectura s'ha de poder adaptar. L'arquitectura s'ha de deixar inacabada, deixant llibertat a l'usuari d'habitar-la segons convingui. Recórrer a espais flexibles, és permetre a lusuari modificar-lo segons les seves necessitats. Creant arquitectura inacabada i permetent a l'usuari acabar-la, s'aconsegueix arquitectura adaptable, arquitectura que no queda obsoleta amb el temps. El tiempo es una variable relacionada con el concepto de cambio y evolución, cómo puede un edificio, siendo un elemento fijo y rígido, adaptarse al tiempo? Las personas cambian con el tiempo, igual que la sociedad, la demografía, la cultura o la economía, y estos cambios se traducen en necesidades, a las cuales la arquitectura ha de ser capaz de adaptarse. La arquitectura se debe dejar inacabada, dejando libertad al usuario de habitarla según le convenga. Recurrir a espacios flexibles, es permitir al usuario modificarlo según sus necesidades. Creando arquitectura inacabada y permitiendo al usuario terminarla, se consigue arquitectura adaptable, arquitectura que no queda obsoleta con el tiempo. Time is a variable related to the concept of change and evolution. How can a building, being a fixed and rigid element, adapt to time? People change over time, such as society, demography, culture or the economy, and these changes translate into needs, to which architecture must be able to adapt. Architecture should be left unfinished, leaving the user free to inhabit it as they see appropriate. To resort to flexible spaces, is to allow the user to modify them according to their needs. By creating unfinished architecture and allowing the user to finish it, we achieve an adaptable architecture, which does not become obsolete over time.

This article aims to identify domestic space’s contemporary requirements, recognizing the processes in which, due to changes in the way we live, or unforeseen circumstances, the need to redistribute or redivide our liveable spaces arises. More demanding in terms of spatial separation, domestic space is influenced by behavioural because the household itself evolves and/or because emergencies induce new uses in spaces once designed for something else. The current pandemic situation has exposed the inefficiency of some of the current (and past) architectural trends. Domestic space is considered a group of areas with a single use in mind or with idealized uses never put into practice by its inhabitants. Flexibility is, therefore, a requirement, where the collected demands and constraints could be the starting point for research focused on new housing types and new construction methods, harbouring the needed elasticity to accommodate different living patterns under unforeseen circumstances., {"references":["Afonso, A. I. (2000). Grupo Doméstico e Mudança Social: Abordagens quantitativas e qualitativas. Etnográfica, IV, 153–182.","Aresta, M., & Salingaros, N. A. (2021). The Importance of Domestic Space in the Times of COVID-19. Challenges, 12(2), 27. https://doi.org/10.3390/challe12020027","Arquitectura Viva. (n.d.). House in a Plum Grove, Tokyo—Kazuyo Sejima & Associates [Online Magazine]. Arquitectura Viva. Retrieved 28 April 2022, from https://arquitecturaviva.com/works/casa-en-un-huerto- con-ciruelos-tokio-4","Barret, P. (2020, September 28). How COVID-19 will change home designs. 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This article brings initial findings of an ethnographic research carried out with higher education students on their experiences with remote education in 2020. After the suspension of face-to-face activities during the pandemic, teachers and students found themselves immersed in challenges arising from the loosening of bonds that support teaching-learning relationships. The research seeks to understand how students perceive and signify their experiences with remote education, considering their material conditions to do so and the network of actors and agencies that thereafter determine these experiences in the domestic space. Thus, this study focuses on the experiential dimension of digital technologies, considering their ubiquity in contemporary life. Finally, the intention is to contribute to the design of educational projects that transcend technological instrumentalization and align with the most significant interactive grammars of contemporary socialities, shaped by the pervasiveness of digital technologies. © 2021 Editora Universitaria da PUCRS. All right reserved.

Este estudo busca compreender os usos e as finalidades que homens e mulheres dão às Tecnologias de Informação e da Comunicação (TIC), bem como, sua relação com os papeis sociais desempenhados por ambos no espaço doméstico. Tem-se como premissa que os papéis sociais que homens e mulheres desempenham na sociedade, interferem nos usos que ambos fazem das tecnologias e perfazem desigualdades de gênero. O recorte empírico tomou como referência 325 pessoas, entre estudantes, professores e servidores vinculados a uma universidade pública brasileira, de ambos os sexos e de diferentes gerações. O aporte teórico adotado considera a influência mútua entre a tecnologia e o contexto social em que ela opera, reconhecendo a interinfluencia entre estrutura e ação. Os resultados evidenciaram que os usos das TIC para a mulher estão mais associados ao espaço privado e às práticas do cuidado com a família e, para o homem, o uso das mídias digitais esteve mais voltado para as oportunidades nas redes profissionais. E, muito embora, as novas tecnologias tenham introduzido mudanças à forma como as práticas do cuidado e do trabalho doméstico passaram a ser coordenados, a mulher ainda permanece como a principal responsável por elas.

Este artículo discute algunos de los hallazgos respecto de la experiencia de varones en la labor académica durante el confinamiento (derivado de las medidas impuestas a raíz de la aparición de la covid-19). Se analizan las narrativas de veinte hombres de distintas áreas de conocimiento y en diversas posiciones académicas en la Universidad Nacional Autónoma de México, UNAM. Sus relatos, arrojan luz acerca de cómo se producen y reproducen masculinidades “tradicionales” en la labor académica, adecuada a las medidas de distanciamiento social, y sobre la estructura de relaciones de género que enmarca la experiencia cotidiana de estos varones. El argumento central es que el confinamiento ilumina la existencia de modelos “tradicionales” de masculinidad entre los académicos que reproducen el espacio doméstico como feminizado y que, simultáneamente, pueden acomodar reconfiguraciones de lo doméstico (por medio de prácticas asociadas a las llamadas “nuevas masculinidades”) y propiciar la reflexividad entre los varones en torno a sus prácticas, identidades y relaciones de género.

Existe un viejo dogma en comunicación: todo informa. Sucede con cada palabra, cada gesto y cada idea, pero también existe en las manifestaciones corporales y vitales de los seres humanos. La ropa que vestimos dice mucho de nuestro estilo, nuestros gustos o nuestra economía. Los textos que colgamos en nuestros balcones también informan, especialmente en estos tiempos de crisis en los que han pasado de ser un espacio doméstico más, a caballo entre la intimidad del hogar y el espacio público de la calle, para ser en ocasiones un espacio de reivindicación. Este trabajo se propone analizar, a partir de un corpus de fotos de balcones de España, la importancia del balcón como elemento arquitectónico y su valor social.

The Unilabor furniture factory operated in the city of Sao Paulo, from 1954 to 1967, in Vila Brasilio Machado, and it was an icon of the relationship between religious community activity, based on the humanization of work and the sharing experience in the company management, with Modern Art and furniture design. In this atypical relationship, Unilabor used different strategies and visual materials in its advertising, which, in addition to the main objective of the ads (which was the furniture sale), also communicated to potential consumers some ideas of taste, related to a project of modernity for the domestic space.

This brief essay introduces the special issue on the topic of ‘digital placemaking’ – a concept describing the use of digital media to create a sense of place for oneself and/or others. As a broad framework that encompasses a variety of practices used to create emotional attachments to place through digital media use, digital placemaking can be examined across a variety of domains. The concept acknowledges that, at its core, a drive to create and control a sense of place is understood as primary to how social actors identify with each other and express their identities and how communities organize to build more meaningful and connected spaces. This idea runs through the articles in the issue, exploring the many ways people use digital media, under varied conditions, to negotiate differential mobilities and become placemakers – practices that may expose or amplify preexisting inequities, exclusions, or erasures in the ways that certain populations experience digital media in place and placemaking.

La cama, como metáfora del cuerpo, presencia los momentos más íntimos del ser humano y es protagonista en sus fases vitales, del nacimiento a la muerte. Al pertenecer al ámbito doméstico, cuando este mueble es tratado en el arte no puede desligarse de una perspectiva de género subyacente, pues tradicionalmente dicho ámbito ha sido reconocido como femenino. Es la esfera del trabajo rutinario despreciado cuya relativa autonomía resulta necesario visibilizar en sintonía con la labor deconstructiva de los movimientos feministas hoy. Por ello, desde la Estética y la Teoría de las Artes abordaremos esta problemática dibujando una genealogía que ponga en valor nuestro enser como escenario de resistencia –un espacio de opresión pero a la vez una oportunidad creativa– a partir de artistas que se han dirigido de forma crítica la cama. Situaremos las muestras más destacadas al respecto y relacionaremos las piezas de las artistas que han empleado el lecho para expresar dicha urgencia. The bed, as support and allegory of the body, alludes to our original human dependence, having a central function in the definition of the domestic sphere. Hence, this piece of furniture makes an issue on the question of intimacy and acquires a marked gender connotation since this sphere has traditionally been recognized as feminine. The domestic is the place of rest and comfort, but also of despised routine work, to whose visibility the deconstructive task of art and feminist criticism has contributed. Therefore, from the Aesthetics and Theory of the Arts, we will analyze the main exhibitions and the artworks of women artists who have addressed the bed critically from different media. Our genealogy will mainly cover the 20th and 21st centuries to value the relevance of said furniture as an enabling limit –as an often oppressive and aestheticizing scenario, but at the same time prone to subversion and resignification.

The objective of this study is two-fold. Firstly, to analyse and discover the ability of HE students to use the physical home context for e-learning via ICT during the new normal; and secondly, to ascertain the underlying patterns of the adequacy of such domestic spaces. The authors offer a multidisciplinary approach combining pedagogic, architectural backgrounds with considerable experience in didactics, organization management of education, and ICT applied to education. A qualitative, arts-based research methodology that analyses photographs was used. A total of 220 domestic work environment photographs sent by higher education students were analysed. Results and conclusions show that students are able to attend virtual classrooms in a domestic atmosphere. Bedrooms and studies are usually the most-used spaces. Laptops and smartphones are the most frequent central hubs of student learning sessions. Students use other training resources (desktop computers, tablets, etc.) to supplement the most common digital devices. An intense relationship is observed between Space (bedroom and other rooms) and the Sofa and Beds variables, while a moderate one is observed between Age and Care items. The relationship between other variables is weak or non-existent.

This article explores the use and adaptation of the iconographic motif of the waiting servant, known primarily from late Roman wall paintings, mosaics, and other media, within the sphere of Late Antique furnishing textiles. Taking as a case study a fifth- to sixth-century CE hanging in the Art Institute of Chicago’s collection, the first section argues that the addition of elaborate, multihued architectural settings and floral motifs in this hanging and several comparable examples built upon the existing waiting-servant iconography offer an enhanced message of “the good life” within the household. Such compositional elements were rooted in earlier Greek and Roman artistic traditions, namely architectural polychromy and the visual interplay between artifice and reality. However, they also exemplify the Late Antique “jeweled style”, an aesthetic characterized by dazzling visual and polychromatic effects and an interest in artistic mimicry of other media. Striking visual parallels between the waiting-servant hangings and contemporary painted interiors suggest that textiles were considered on par with permanent media and operated in a system of cross-media artistic exchange. The article concludes with a consideration of the materiality of the Chicago hanging and its potential functions within a Late Antique residence, exploring how its portability as a woven object encouraged its flexible use within the home and allowed it to convey and even amplify particular messages through its juxtaposition with other objects, architecture, or people.

The house as a domestic space is a place for daily errands that are manifested by life practices established in and through interaction. The interaction comes from what is experienced by the subjects in a given social context, and through it the meaning is apprehended. The taste of the Brazilian manners of living reveals singularities that point to lifestyles adopted by the subject who occupies the space of the house, and it is given to the person the notion of belonging. Illuminated by Eric Landowski’s Sociossemiotics, the article proposes reflections on the relationship between manners of inhabiting and the dweller, and it signalizes paths to apprehend other meanings through sensibility.

This article examines how lockdown measures have affected international students living in an international student dorm in Copenhagen. During the COVID-19 lockdown in Denmark from March to June, the dorm, which was previously considered a domestic space only, emerged as a closed circuit that collapsed into a single space living, work and leisure activities. The article shows that due to the lack of physical, mental and temporal demarcations between spaces of work and leisure, the dorm as a closed circuit has altered social and intimate relations. Drawing on concepts of non-places, home, and hyper-places, it argues that the life of international students was particularly disrupted by the COVID-19 lockdown.

This article aims to reflect on the ways in which the COVID-19 pandemic changed how experiences of intimacy occur with a specific focus on the domestic relations of women living in favelas in the city of Rio de Janeiro, Brazil. In contexts marked by precariousness and by the everyday difficulty of cohabitation in spaces that are characterised as small and with little infrastructure, the pandemic retraces the forms of co-existence, modifying the ways in which intimacies are built and experienced. The perspective adopted takes into account the ways in which the pandemic creates, recreates and intensifies relationships of vulnerability that not only include prevention of the virus, but changes to domestic space and women’s private lives.

Stefano Baschiera and Miriam De Rosa’s Film and Domestic Space arrived on my desk during the first wave of Covid-19 lockdowns, at a moment when attention had naturally turned inwards to the domestic interior. The book has therefore gained an unexpected sense of topicality. As the new constraints of physically distanced living have transformed houses and apartments into digitally networked hubs for home working and online social interaction, public and private space have blurred in unforeseen ways. More than ever, the home has become visible via media technologies. Through video calls and the ubiquitous array of the Zoom screen—now a staple of family hangouts, classrooms, and business meetings alike—images of other people’s homes have rarely been so present in our everyday lives. On television, broadcasting from home has offered glimpses into the domestic interiors of politicians, celebrities, presenters, and pundits—with the staging and semiotics of bookshelves even briefly becoming a topic of online debate (Guest). In short, the pandemic has not only produced a wide range of domestic imagery. It has also revealed domestic space as a site of media productionas well as media consumption, bringing into focus how the home can operate as a type of moving image apparatus—or as Baschiera and De Rosa put it, as a dispositif. As their timely book shows, this exchange between screen media and domestic space has a varied and complex history.

This article explores the relationship between life-writing, domestic space and cultural memory , discussing Bernadette Devlin’s 1969 memoir The Price of My Soul, and Nell McCafferty’s 1988 book Pe...

El Kala is a city on the edge of eastern Algeria, located in an exceptional natural landscape, classified as a world biosphere reserve in 1990 by UNESCO. The diversity of nature within the domestic space leads to research and study its place and value for the inhabitants and encourages to think about how to qualify the relationship between inhabitants and nature through the domestic space. This study is based on a biophilic approach, adapted to the architectural scale, based on a landscape and architectural analysis. The results obtained show that the observed biophilic design is only a means to build a relationship with nature by the inhabitants. The objective of this article is to highlight the contribution of the biophilic approach in determining the behaviour of the inhabitants of the city of El Kala.

Background Novel malaria vector control approaches aim to combine tools for maximum protection. This study aimed to evaluate novel and re-evaluate existing putative repellent ‘push’ and attractive ‘pull’ components for manipulating the odour orientation of malaria vectors in the peri-domestic space. Methods Anopheles arabiensis outdoor human landing catches and trap comparisons were implemented in large semi-field systems to (i) test the efficacy of Citriodiol® or transfluthrin-treated fabric strips positioned in house eave gaps as push components for preventing bites; (ii) understand the efficacy of MB5-baited Suna-traps in attracting vectors in the presence of a human being; (iii) assess 2-butanone as a CO2 replacement for trapping; (iv) determine the protection provided by a full push-pull set up. The air concentrations of the chemical constituents of the push–pull set-up were quantified. Results Microencapsulated Citriodiol® eave strips did not provide outdoor protection against host-seeking An. arabiensis. Transfluthrin-treated strips reduced the odds of a mosquito landing on the human volunteer (OR 0.17; 95% CI 0.12–0.23). This impact was lower (OR 0.59; 95% CI 0.52–0.66) during the push-pull experiment, which was associated with low nighttime temperatures likely affecting the transfluthrin vaporisation. The MB5-baited Suna trap supplemented with CO2 attracted only a third of the released mosquitoes in the absence of a human being; however, with a human volunteer in the same system, the trap caught < 1% of all released mosquitoes. The volunteer consistently attracted over two-thirds of all mosquitoes released. This was the case in the absence (‘pull’ only) and in the presence of a spatial repellent (‘push-pull’), indicating that in its current configuration the tested ‘pull’ does not provide a valuable addition to a spatial repellent. The chemical 2-butanone was ineffective in replacing CO2. Transfluthrin was detectable in the air space but with a strong linear reduction in concentrations over 5 m from release. The MB5 constituent chemicals were only irregularly detected, potentially suggesting insufficient release and concentration in the air for attraction. Conclusion This step-by-step evaluation of the selected ‘push’ and ‘pull’ components led to a better understanding of their ability to affect host-seeking behaviours of the malaria vector An. arabiensis in the peri-domestic space and helps to gauge the impact such tools would have when used in the field for monitoring or control. Graphical Abstract

espanolEl presente articulo pretende analizar la representacion de la adolescencia femenina como un espacio liminal en tres novelas de Shirley Jackson: The Bird’s Nest (1954), The Haunting of Hill House(1959) y We Have Always Lived in the Castle (1962). Teniendo en cuenta como los temores nucleares y la identidad nacional se configuran en torno al ideal de un espacio domestico seguro en la cultura estadounidense de la posguerra, el articulo explora las preocupaciones culturales acerca de las adolescentes que se niegan a ajustarse a la feminidad normativa, siguiendo la concepcion de Teresa de Lauretis de la madurez femenina como la “aceptacion la feminidad” (1984). Se argumentara que Jackson critica las rigidas posibilidades que existian para las mujeres en ese momento, y se demostrara como sus representaciones de una feminidad desviada rechazan y subvierten el discurso de la familia nuclear y, por lo tanto, de la nacion EnglishThis paper intends to analyze the representation of girlhood as a liminal space in three novels by Shirley Jackson: The Bird’s Nest(1954), The Haunting of Hill House (1959) and We Have Always Lived in theCastle (1962). Bearing in mind how nuclear fears and national identity are configured around the ideal of a safe domestic space in US postwar culture, the paper explores cultural anxieties about teenage girls who refuse to conform to normative femininity, following Teresa de Lauretis’s conception of women’s coming-of-age as “consenting to femininity” (1984). I will argue that Jackson criticizes the rigid possibilities for women at this time, and I will show how her representations of deviant femininity refuse and subvert the discourse of the nuclear family and, therefore, of the nation.

Within the context of the current pandemic, France, like many other countries, is hoping to promote new ways of inhabiting domestic space after COVID. However, certain models seem to have emerged from a slower process of transformation. Herein we will examine how do-it-yourself work (DIY), beyond just a marginal activity, may be indicative of paradigm changes in French society. To achieve this, the essay describes the characteristics and changes in DIY across time in France based on the momentum created by the social sciences in the 1970s. It explains how DIY is able to generate changes in the people’s behavior and thus offer the possibility of a new model for the economy and production. However, in order to be able to play a role in both twenty-first century housing and the contemporary city, action taken on matter must be spatially legitimized. Therefore, we also discuss the historical role of homo faber, along with his workshop, in the construction of la cite . Last of all, parallels are drawn between the renewed appreciation of DIY and the role of the grand bricoleur, or large-scale DIY practitioner, already played by the latest generations of French architects. Thus, DIY is viewed as a way of “being in the world” that will lead to the construction of a new economic and productive model during an era of ecological transition.

Muchas veces nos hemos preguntado por el papel de las mujeres en las cocinas cuando intentamos responder sobre nuestra historia, las relaciones de poder en las que estamos inmersas o al pensar el vínculo de las mujeres con el espacio doméstico. Este artículo, que parte de estas preguntas, da un viraje y se concentra en los hombres campesinos y el quehacer de estos en las cocinas. A través de sus prácticas, sus narrativas y sus experiencias de vida, explora cómo se da esa presencia masculina dentro de las cocinas campesinas. También cuestiona ciertos imaginarios sobre el trabajo de cuidado vinculado exclusivamente a las mujeres y acerca la figura masculina al desempeño de estas labores.

In contemporary life, the mobile phone is integral to digital and material placemaking practices. In this article, drawing on ethnographic analysis conducted in Perth and Melbourne (Australia) in the first months of the coronavirus (Covid-19) pandemic, we explore how this relation has been recalibrated as an effect of ‘stay-at-home’ restrictions. We first provide a brief overview of our methodological and interpretative approach – drawing from postphenomenology as a useful framework for understanding the mobile–body–place relation and digital placemaking at home. Second, we consider how mobile media are ‘situated’ in the domestic environment. Third, through an analysis of participant narratives, we explore the concept of net locality (Gordon and de Souza e Silva (2011) through the lens of embodiment theory and suggest that the Covid-19 context has altered our experience of ‘networked corporeality’. Finally, we discuss the ambiguity of digital intimacy in the decoupling of mobile media and the body as a result of a rapid increase in both screen time and time spent at home. Throughout the article, we argue that mobile media use in the home is thoroughly enmeshed in the shifting boundaries of privacy, placemaking and domestic space. We question how the placemaking functionality of mobile media, the intimate body–technology relation specific to mobile media practices and ‘being-at-home’ were subsequently modified by physical distancing and isolation.

This article looks at the appearance of domestic spaces on the popular livestreaming platform Twitch.tv, with a focus on livestreams that appear to be shot in streamers’ bedrooms. Many Twitch streamers broadcast from their homes, making domestic space central to questions of placemaking for this rapidly growing digital media form. Within the home, bedrooms merit particular attention because they carry particular cultural connotations; they are associated with intimacy, embodiment, and erotics. Drawing from observations of gaming and nongaming streams, we map where bedrooms do and do not appear on Twitch. We locate the majority of bedrooms in categories that foreground connections between streamers and viewers, like Just Chatting, Music & Performing Arts, and autonomous sensory meridian response (ASMR). By contrast, across a wide range of video game genres, bedrooms remain largely absent from gaming streams. The presence of bedrooms on Twitch also breaks down along gender lines, with women streaming being far more likely to broadcast from their bedrooms than men. Here, we build from existing research on both livestreaming and digital placemaking to argue for an understanding of place on Twitch as fundamentally performative. This performance is inherently gendered and bound up with the affective labor of streaming. In addition, we demonstrate how the bedroom, even when it does not appear on screen, can be understood as a ‘structuring logic’ of placemaking on Twitch. Given the history of livestreaming, which grows out of women’s experiments with online ‘lifecasting’, the bedroom sets expectations for the type of spatial and emotional access a stream is imagined to offer viewers. In this sense, the absence of bedrooms in gaming streams can be understood as a disavowal of intimate domestic space: an attempt by predominantly male streamers to distance themselves from the implicit parallels between livestreaming and practices like webcam modeling.

El Museo de Arte Abstracto Español, inaugurado en 1966, es el primer centro de arte contemporáneo de iniciativa privada en España. Localizado en Cuenca, una pequeña capital de provincias, y fundado por artistas, supuso una descentralización del tejido cultural del momento y la reactivación del centro histórico de la ciudad al emplazarse en su principal reclamo turístico, sus famosas «casas» (de ahí el popular apelativo «Museo de las Casas Colgadas»). El proyecto concedió una importancia inusitada a la convivencia entre obra y espacio expositivo, favoreciendo una experiencia estética íntima en las distintas estancias del edificio junto a las vertiginosas vistas de la peculiar geografía de una ciudad tallada en la roca. Analizando su historia, desentrañaremos las poéticas de esta imbricación entre arquitectura, arte y paisaje, la cual ha hecho de este un Museo reconocido internacionalmente. The Museum of Spanish Abstract Art, which opened in 1966, is the first privately-owned contemporary art center in Spain. Located in Cuenca, a small provincial capital, and founded by artists, it brought about a decentralisation of the cultural fabric at that time and a reactivation of the historical city center, as it became its main tourist attraction — its famous «houses» (hence, the popular epithet «Cuenca’s Hanging Houses Museum»). This project gave an unusual amount of relevance to the coexistence between the artwork and the exhibition space. It also favored an intimate aesthetic experience in its different rooms together with the vertiginous views of the peculiar geography of a city carved on the rock. By looking into its history, we will unravel the poetics of this blend of architecture, art and landscape, which has driven a growing number of visitors to the Museum in recent years.

Alcuni degli spazi archetipi della casa premoderna, nell’ultimo secolo, sono scomparsi dalle planimetrie in nome dell’ottimizzazione della superficie abitativa. Il sofa della casa turca, tra gli altri, potrebbe essere una interessante alternativa, tutta da sondare, per mettere in discussione la configurazione tipica dell’interno domestico occidentale. La sua origine come spazio di soglia lo riconduce a una introflessione della corte anatolica. Ne definiremo l’origine spaziale e tipologica e ci soffermeremo sulla sua inerente modernità, così come è stato rivalutato il ruolo della long gallery. Il sofa consentiva un viaggio domestico costellato da ricchezze visuali, esperienze intime, differenze spaziali. Si estendeva, piegava, allargava a possibili diversi utilizzi nella quotidianità domestica che la casa contemporanea necessiterebbe. During the last century, optimisation processes of the residential architecture have been eradicating many archetypal spaces of the pre-modern house from domestic layouts. The sofa of the Turkish house, among these archetypal spaces, is a relevant precedent that can help us question and eventually undermine the typical features of the western domestic interior. Its basic essence as a transition space originates from the ancient Anatolian courtyards. This paper aims to discuss both spatial and typological features of the sofa to emphasize its intrinsic modernity, as it has been done in the case of recent reconsideration of the Elizabethan long gallery. Sofas allowed a domestic experience to be filled with visual richness, deep intimacy, and spatial variations. The sofa could extend, adjust, and widen the experience of the private realm letting diverse uses and accommodations. This is exactly the degree of indeterminateness that a contemporary flat dramatically lacks.