'Out of my kitchen!' Architecture, gender and domestic efficiency

Cieraad, Irene

doi:10.1080/13602360210155456

Cited by 42 publications

(35 citation statements)

References 3 publications

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“…As Cieraad (2002) has observed, much of the economy or business of the middle-class household in the mid-twentieth century operated via the gendered interaction between the (female) interior and the (male) exterior, generally conducted across the liminal threshold of the front or back doorstep. In Double Trouble, the distinction between the interior of the house and the exterior is amplified by the gender HALFwAY DOwN THE STAIRS of the characters-the only character that is exterior to the house and the only "lone" individual in the film is male (the delivery man), whereas the inhabitants of the house (situated in the interior) are not only doubled but also female (although the gender of the dogs is not known).…”

Section: Karen Lurymentioning

confidence: 95%

Halfway Down the Stairs

Lury¹

2013

Home Cultures

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This article will explore a number of so-called "family films"amateur productions-made in Scotland between the 1930s and 1960s. The films, currently preserved in the Scottish Screen Archive, were made by many different nonprofessional filmmakers either working on their own or as part of a local amateur cine club. while these films share characteristics with the home movie, they should not be confused with this mode of production as these films are carefully scripted and edited, and the events they depict are evidently staged for the camera. Unlike many home movies they have a clear narrative structure, and while the content is ordinary there has been an

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Section: Karen Lurymentioning

confidence: 95%

Halfway Down the Stairs

Lury¹

2013

Home Cultures

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“…The introduction of a playpen in a 1920s nursery might be a consequence of the shortage of domestic staff during that period (Cieraad 2002). In upper-class households of the mid-nineteenth century a day nursery was in essence a large room sparsely furnished with cast-off furniture, and as such it allowed ample room for a child's play.…”

Section: Playpen or Babyboxmentioning

confidence: 99%

The Family Living Room: A Child's Playpen?

Cieraad

2013

Home Cultures

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For a long time, the Dutch family living room has been the most prestigious domestic space, reflecting in its furnishing and decoration the status and class of the male breadwinner without any material indication of the presence of children in the household. In the latter part of the twentieth century, children were increasingly acknowledged as family members in their own right and allowed to extend their play into the living room. More recently, the situation has developed into the extreme opposite of the pristine family living rooms of yore. Nowadays, with baby equipment visibly predominant, the living room of a young family looks more like a day-care center, the playpen taking a focal position, surrounded by large toys and > baby furniture. This article presents a sociological explanation of the material transformation of the living room in its relation to the rise in labor participation of young Dutch mothers over the last two decades, as well as a cultural interpretation of the material living room as a reflection of Dutch family life in the twentieth century.

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“…In doing this, Spence placed the kitchen at the centre of the discourse of modernity, challenging well-established associations between 'back' and 'front' (Johnson, 2006). Narratives of 'operational efficiency' (Meah, 2016, p.43), and a process of 'aestheticization' (Hand & Shove, 2004, p.243) freed the kitchen from the 'back' (Forty, 1986;Sparke, 1995) and made it a streamlined space that could be linked to the living area (Cieraad, 2002;Matrix, 1984). Merging interior spaces was 'an often-used device by Modern architects' (Llewellyn, 2004a, p.54), which allowed the connection between kitchen and other rooms.…”

Section: Exploring the Spatial Articulation Of Architecture With Homementioning

confidence: 99%

Negotiating the Modern Cross-Class “Model Home”: Domestic Experiences in Basil Spence’s Claremont Court

Santos

Bertolino

2018

Space and Culture

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This article investigates the spatial articulation of architecture and home through the exploration of current domestic experiences in Basil Spence’s Claremont Court housing scheme (1959-1962), Edinburgh. How architecture and home are both idealized and lived is the backdrop for a discussion that draws on the concept of “model home,” or physical representation of a domestic ideal. The article reads Claremont Court as an architectural prototype of the modern domestic ideal, before exploring its reception by five of its households through the use of visual methods and semistructured interviews. Receiving the model home involves negotiating between ideal and lived homes. Building on this idea, the article contributes with a focus on the spatiality of such reception, showing how it is modulated according to the architectural affordances that the “model home” represents. The article expands on scholarship on architecture and home with empirical evidence that argues the reciprocal spatiality of home.

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'Out of my kitchen!' Architecture, gender and domestic efficiency

Cited by 42 publications

References 3 publications

Halfway Down the Stairs

Halfway Down the Stairs

The Family Living Room: A Child's Playpen?

Negotiating the Modern Cross-Class “Model Home”: Domestic Experiences in Basil Spence’s Claremont Court

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