This document is submitted in partial fulfilment for the degree: Master of Arch[Prof] at the University of the Witwatersrand, Johannesburg, in the year 2015 / Domestic workers in South Africa are a vulnerable work force who are not financially or socially recognised for the significant role they play in sustaining homes, suburbs and society. The topic of domestic work serves as a lens through which to analyse the intersectional issues of race, gender and class in South Africa and their spatial manifestations. I have found that spatial principles employed, historically and currently, play a substantial role in creating or upholding the unbalanced power relationship governing domestic work. The spatial techniques of separation, isolation, concealment, surveillance, front to back and leisure to work relationships for example, have become so mundane and normalized in South African society that it is difficult to identify these factors as facilitators of race, gender and class discrimination. My spatial approach is to utilize these principles in a way that disrupts and draws attention to their original objective. The program aims to recognise the significance of this occupation, give domestic Workers collective power to negotiate their working conditions and facilitate social mobility. The building is a mix-use centre which incorporates business, accommodation, communal and public facilities, activities and gathering spaces a landscaped park. The business facilities incorporate existing services in a more formalized, professionalized manner, ensuring fair remuneration and recognition for quality services. The centre additionally provides services in more interactive, sustainable and economically efficient ways than they are traditionally provided for in individual private homes. These communal services include a children’s day care, public laundry and eatery. The intention is to create a prototype that may be reproduced in any suburb thereby creating a network of centres. The selection of the park in Norwood as a site serves to reactivate an underutilized public space and in so doing challenge the existing relationships of work and leisure, public and private and social hierarchies in the suburb. The position of this project in the relatively, sparsely populated suburbs would change the racial and financial demographic. It would be a new typology for high density, low cost/ government subsidised housing in a way that integrates infrastructure and public space. / EM2017

A repeated theme in the fiction of Angela Carter and Jeanette Winterson is the use of domestic space as a tool for defining socially acceptable versions of female sexuality. Four novels that crystallize this theme are the focus of this dissertation: Winterson??s Oranges Are Not the Only Fruit (1985) and Art and Lies (1994) and Carter??s The Magic Toyshop (1967) and Nights at the Circus (1984). Each chapter examines both authors?? treatments of a specific room in the house. Chapter II, "Parlor Games: Spatial Literacy in Formal Rooms," discusses how rooms used for formal occasions project a desirable public image of a family. More insidiously, however, the rooms protect the sexual order of the household, which often privileges male sexuality. Using the term spatial literacy to describe how characters interpret rooms, the chapter argues that characters with a high spatial literacy can detect not only the overt messages of these formal rooms, but also what underlies those messages. Chapter III, "Making Meals, Breaking Deals: Mothers, Daughters, and Kitchens," discusses the kitchen as the site of the production of domestic comfort. An analysis of who has primary responsibility for the production of comfort and whose comfort is privileged often reveals the power hierarchy of a given household. The chapter also examines the kitchen as a volatile space that can erupt with violence and the expression of repressed emotions and repressed sexuality. Finally, the kitchen is analyzed as a space of intimacy between mothers and daughters. Chapter IV, "Bedtime Stories: Assaulting Sexuality in the Bedroom," argues that the privacy of the adolescent bedroom is often disrupted by the surveillance of family members trying to control the sexual identity of the room??s occupant. The chapter also examines how social prescriptions encourage women to tolerate the interruption of their privacy. Each of the protagonists from these four novels has opportunities to learn about subverting the discursive constructions of domestic space, and several characters enact that subversion. This ability for subversion suggests the possibility for agency, a possibility that postmodernist thought often rejects, but one that Carter and Winterson allow.

A presente pesquisa, intitulada Agenciamentos de Visita: notações pictóricas na fotografia de ambientes domésticos, analisa os procedimentos de elaboração das séries fotográficas Agenciamentos de Visita para Estudos de Composição – natureza morta e Agenciamentos de Visita para Estudos de Composição – cena de gênero, abarcando as questões emergidas destas práticas. Neste contexto, as relações entre fotografia e pintura holandesa são investigadas, partindo de minha poética e articulando-a com a arte atual, a qual é referenciada pelo uso de cenas construídas para a realização das imagens. Concernente ao procedimento de trabalho, a prática de visitas veiculou a investigação do espaço da casa como reduto íntimo e como estúdio provisório. / The present research named Requests to Visit: pictorial notations in domestic space’s photography analyses the procedures of elaboration of the photography series Requests to visit for Composition Studies– still life and Requests to visit for Composition Studies - gender scenes, including the questions emerged from these practices. In this context, the relations between photography and Dutch painting are investigated, having as a starting point my poetic and articulating it with the recent art, which is alluded by the use of scenes made for the realization of the images. Concerning the working procedure, the visiting practice leaded to the investigation of the house’s space as being an intimate redoubt and a provisory studio.

A presente pesquisa, intitulada Agenciamentos de Visita: notações pictóricas na fotografia de ambientes domésticos, analisa os procedimentos de elaboração das séries fotográficas Agenciamentos de Visita para Estudos de Composição – natureza morta e Agenciamentos de Visita para Estudos de Composição – cena de gênero, abarcando as questões emergidas destas práticas. Neste contexto, as relações entre fotografia e pintura holandesa são investigadas, partindo de minha poética e articulando-a com a arte atual, a qual é referenciada pelo uso de cenas construídas para a realização das imagens. Concernente ao procedimento de trabalho, a prática de visitas veiculou a investigação do espaço da casa como reduto íntimo e como estúdio provisório. / The present research named Requests to Visit: pictorial notations in domestic space’s photography analyses the procedures of elaboration of the photography series Requests to visit for Composition Studies– still life and Requests to visit for Composition Studies - gender scenes, including the questions emerged from these practices. In this context, the relations between photography and Dutch painting are investigated, having as a starting point my poetic and articulating it with the recent art, which is alluded by the use of scenes made for the realization of the images. Concerning the working procedure, the visiting practice leaded to the investigation of the house’s space as being an intimate redoubt and a provisory studio.

Made available in DSpace on 2014-12-17T13:54:45Z (GMT). No. of bitstreams: 1 MariluAS.pdf: 2124511 bytes, checksum: 4564290c2c447f1c16d5215ff9f01f19 (MD5) Previous issue date: 2008-09-15 / In this work we thought about the social use of the domestic space and, specifically, the space destined to the preparation of food. The kitchen is a creative space of social relationships. There the families exchange daily interaction with the neighbors, in a collective of the space reserved to the making of food. Our empiric research was in the Mutamba da Caieira community, located in the county of Assu (RN). The data was collected through the etnographic method aided by the photographic resources. In the discussion, we delimitated at the house three types of kitchens: one reserved to the family, another kitchen in the terrace and yet another kitchen in the yard. They are kitchens that link amongst themselves with activities and differentiated temporalities. In the daily social exchange, the kitchen imposes itself as a social space through the conditions that it offers for the production of the foods, the circulation of domestic objects, the communication of knowledge around the cookery, operating a group of symbolic and ritual actions combined with appropriate techniques for the transformation of the foods. The study reveals that the domestic chores accomplished amon relatives and friends form webs of intracommunitary relationships in the use of the three kitchens, and that the social network is updated in a singular moment that usually happens in the community, the Game of Pacar? / Neste trabalho refletimos sobre o uso social do espa?o dom?stico e, em particular, aquele reservado ? prepara??o de alimentos. A cozinha ? um espa?o criador de rela??es sociais. Nela as fam?lias travam rela??es cotidianas com os vizinhos, num uso coletivo do espa?o reservado ? alimenta??o. Realizamos a nossa pesquisa emp?rica na Comunidade Mutamba da Caieira, localizada no munic?pio de Assu (RN). Para a coleta de dados fizemos uso do m?todo etnogr?fico auxiliado pelo recuso fotogr?fico. Na discuss?o, demarcamos na casa tr?s tipos de cozinhas: aquela reservada ? fam?lia, a cozinha do terra?o e a cozinha do terreiro. S?o cozinhas que se relacionam entre si com atividades e temporalidades diferenciadas. Nas rela??es travadas no cotidiano, a cozinha imp?e-se como espa?o social por meio das condi??es que oferece para a produ??o dos alimentos, a circula??o de objetos dom?sticos, a comunica??o de saberes em torno da culin?ria, operando um conjunto de atos simb?licos e rituais combinados com t?cnicas adequadas para a transforma??o dos alimentos. O estudo revela que o fazer dom?stico realizado entre parentes e amigos forma teias de rela??es intracomunit?rias no uso das tr?s cozinhas. As redes de sociabilidades se atualizam num momento singular que costumeiramente acontece na comunidade, o Jogo do Pacar?

In the decades following 1945, Americans moved increasingly out of cities into suburbs. The migration illustrated the emergence of a new, broader middle class as a result of growing postwar affluence. In the previous half-century, families living in a suburb could claim middle-class status. The emerging class built its identity on the forms and values adopted from this earlier, more affluent Victorian middle class. These adopted values were played out in a home designed around Progressive era ideals of the family. Through this Progressive filter, the new concept of the home was scaled down, without servants, and ceased existing wholly as the wife's sphere of influence--as in the Victorian version. The Progressive impulse also reduced the size of the house to make it more efficient, and through government subsidies shaped the home into a smaller, economically sized package. The financial framework that determined the shape of the postwar home also influenced the technology placed within its walls. This financially influenced technology particularly affected the shape and content of the kitchen. The new, efficient kitchen did not release women from their duty to provide daily family meals, but it did create a culturally safe space for men to cook as a hobby. In the postwar, suburban kitchen women and men contended with economic pressures and changing social realities which complicated the Victorian values and Progressive ideals. Middle-class women needed to leave the home for work, and--now separated from traditional urban social outlets--middle-class men sought refuge in the suburban home. By examining Sunset magazine's "Chefs of the West" column, traditional women's cookbooks and service magazines, men's magazines, building industry trade journals, and census reports, the kitchen demonstrates that women and men reshaped the home in response to changing middle-class values. While financing regulations at first shaped how the emerging middle class lived within the postwar, suburban home, residents reinterpreted the space as a reaction to the economic changes around them. This cycle continued with each new interpretation of the postwar single-family home.

Representations of female characters in cinema have the effect of othering the female in front of the viewer’s gaze. Women’s characters are constructed along the lines of their gender and race difference. In this paper I focus entirely on the character of the woman domestic worker in four films: Ilo Ilo, The Second Mother, The Maid, and At Home. The paper aims to provide a different reading of this mostly trivialized character and rethink its otherness by pinpointing it in biopolitical labor and homes of biopower, namely of affect and oppression. I am interested in how labor can reconfigure the domestic space to a heterotopia, or what I call a ‘heterooikos’, which is the space occupied by the other. Finally, I will attempt an analysis that reimagines otherness captured by cinema, by locating, in the film text, techniques of resistance as a countersuggestion to techniques of character identification. My aim is to provide a different way to interact with subaltern subjects in film by recognizing otherness as part of an ethical response.

A presente tese estuda a produção artística de oratórios domésticos manufaturados no Brasil, sobretudo nos séculos XVIII e XIX, e que hoje se encontram recolhidos às dependências de museus brasileiros, públicos e particulares. Também, a tese procura compreender a dinâmica de sua trajetória no contexto doméstico, tomando, em particular, a São Paulo setecentista e oitocentista como cenário ilustrativo. Para esta abordagem, prima-se em observar tais artefatos religiosos ante seus dois distintos universos funcionais, respectivamente: de cunho devocional, em que os mesmos se destinam comumente às práticas da oração; e de cunho litúrgico, quando especialmente preparados para a orientação das celebrações oficiais da Igreja católica. Assim, baseando-se nas informações oferecidas por um conjunto de testemunhos pertinentes, de fontes textuais e diante do próprio acervo de oratórios elencado para análise, chega-se a uma leitura bastante aproximada do trabalho artístico realizado em torno desta produção, bem como das formas de organização dos espaços da morada, no contexto das vivências religiosas do catolicismo, corroborando a hipótese de que tais artefatos figuravam como protagonistas de complexas relações, humanas e materiais, que ali se estabeleciam. / This thesis studies the artistic production of the domestic oratories made in Brazil, especially in the 18th and 19yh centuries that have been kept now in public or private Brazilian museums. The thesis also tries to understand the dynamics of its course within the domestic context having São Paulo, particularly in the eighteenth and nineteenth centuries as illustrative scenery. Concerning this approach, it is of utmost importance to observe such religious artifacts in their two distinct functional universes, respectively those of a devotional feature, when they are commonly intended to the act of praying, and those of a liturgical aspect when they were specially prepared for directing the official celebrations of the Roman Catholic Church. Therefore, based upon information provided by a set of pertinent evidence, textual sources and before the collection of oratories that were chosen to be used for the analysis, a very close understanding of the artistic work performed towards this production, as well as the ways of organizing the spaces in a home within the context of the religious experiences of Catholicism, confirming the hypothesis that such artifacts were seen as the protagonists of the complex human and material relations that were establish there.

\"Itinerário de borboletas\" olha para as relações existentes entre o mobiliário e a arquitetura residencial através da poltrona BKF e de seus vínculos com os espaços da casa. Tem como objetivo analisar e refletir sobre as condições de design focadas na concepção, no projeto e na produção da BKF, reconhecendo as inter-relações existentes entre esse design e a arquitetura no cenário doméstico de uso da poltrona. Pretende constituir o registro de uma viagem através das casas habitadas (ou ocupadas) pelas BKF, usando como metodologia análises contextuais, visuais e projetuais, analisando e refletindo sobre a interação existente entre o mobiliário e os ambientes domésticos onde a proposta de investigação se concentra. Procura-se colaborar no desenvolvimento da pesquisa em área de projeto como um campo em construção epistemológica, ao adaptar e utilizar as ferramentas de produção e de representação de projeto para a descrição, análise e interpretação dos dados. Também pretende contribuir para uma compreensão mais profunda no conhecimento da relação entre mobiliário e arquitetura como áreas de um mesmo corpo disciplinar. Persegue as seguintes perguntas: Onde? Quais espaços domésticos a BKF ocupa? Como a poltrona ocupa tais espaços? O que significa? E quais são as relações entre a BKF e esses ambientes? Em síntese, este trabalho se concentra em estudar e analisar de que maneira a cadeira BKF ocupa os cenários domésticos, que significado tem sua presença para os arquitetos, e que laços e relações são oferecidos para o habitante na forma do sentar como interpretação do morar. Este trabalho é uma pequena mostra que pretende ler e compreender a arquitetura em função de uma poltrona particular. / \"Butterflies\' Itinerary\" observes the existing relationships between furniture and residential architecture, through the BKF chair and its links with the domestic spaces. The goal of the work is to analyze and reflect on the design conditions, with a focus on the conception, the project and the production of the BKF chair. We look at the existing relationships between this chair and the architecture of the domestic spaces where it is used. This work has the intention of building a travel log of the houses inhabited (or occupied) by this chair. The methodology used includes contextual, visual and design analyses. We analyze and reflect on the existing relationships between the furniture and the domestic architecture. We aim at making a contribution to the development of research in the area of design practice, a field undergoing an epistemological development, by adapting and using production and representation tools to describe, analyze and interpret the available data. More in general, we would like to contribute to the deeper understanding of the relationship between furniture and architecture, as parts of the same disciplinary body. We consider the following questions: Where do we find these chairs? Which domestic spaces does the BKF chair occupy? How does it occupy those spaces? What is the significance of the chair\'s presence? What is the relationship between the chair and those spaces? In short, this work focuses on the study and analysis of how the BKF chair occupies the domestic spaces, what the meaning of its presence is for the architects, and what links and relations are offered to the inhabitant through the way of seating, as an interpretation of the way of living. This work has the intention of reading and understanding the architecture in terms of a particular chair.

O museu transformou seus espaços interiores para receber um público ativo a estímulos. Casas-museus ou museus-casas incluem a diversidade étnica e cultural, geram conhecimentos e nos transportam ao passado por caminhos históricos; preservam modos de viver, desafiando o visitante/ receptor. Essa tipologia de museu encerra-se em torno de sua coleção e de seus espaços. A arquitetura parte da atividade interior buscando os focos de luz natural e perspectivas do entorno. A partir da hipótese de que as casas-museus devem ser adaptadas e como essa adaptação acontece, o objetivo da pesquisa foi criar um panorama com as principais características observadas nessa tipologia de museu, analisando suas adaptações de casa para o uso casa-museu. Conhecer e interpretar sete instituições em São Paulo, ressaltando aspectos marcados pela passagem do espaço doméstico privado para o espaço museológico público, com auxílio dos projetos, tornou-se o ponto de partida. Na transformação da casa em museu, muitos fatores são articulados; a rotina da casa será diferente enquanto museu. Não é casa e não é museu. Existe o fluxo de visitantes que não é visita; adaptações devem ser pensadas. A museologia e a museografia são responsáveis pelo destino do que é relevante, por meio do curador e de suas escolhas. Ações particulares de preservação surgem. As adaptações do uso serão diferentes do uso da casa original. São desafios físicos (nos prédios) e interpretações do espaço. A coleção e a arquitetura devem permanecer, além do morador. Esses espaços tornam-se locais para a construção da cidadania como lugares de memória, de inquietação, e desempenham um papel social. Com isso, faz-se importante eleger o que deve ser lembrado e o que deve ser esquecido por meio de um programa de necessidades do museu. / The museum has transformed its interior spaces to receive an active audience for stimuli. Houses-museums or museum-houses include ethnic and cultural diversity, generate knowledge and transport us to the past by historical paths; preserving ways of living, challenging the visitor / receiver. This type of museum is enclosed around its collection and its spaces. The architecture is part of the interior activity seeking the outbreaks of natural light and perspectives of the environment. Based on the hypothesis that museum houses should be adapted and how this adaptation happens, the objective of the research was to create a panorama with the main characteristics observed in this typology of museum, analyzing their adaptations from home to home-museum use. Knowing and interpreting seven institutions in São Paulo, highlighting aspects marked by the passage of the private domestic space to the public museum space, with the help of the projects, became the starting point. In the transformation from house to museum, many factors are articulated; the house routine will be different as a museum. It is not house and it is not a museum. There is the flow of visitors who is not visiting; adaptations should be considered. Museology and museography are responsible for the fate of what is relevant, through the curator and his choices. Particular preservation actions arise. The adaptations of the use will be different from the use of the original house. These are physical challenges (in buildings) and interpretations of space. The collection and architecture must remain in addition to the resident. These spaces become places for the construction of citizenship as places of memory, of restlessness, and play a social role. With this, it is important to choose what should be remembered and what should be forgotten through a museum needs program.