Domestic Furniture at the Catalan Textile Colonies. Case of Study: Borgonyà or “The Colony of English People"

The present study is an analysis of the domestic furniture of the workers of the Industrial Colonies in Catalonia, taking like an example the specific case of the Colony of Borgonyà. The choice of Borgonyà is not a coincidence, the Colony is especially interesting because his peculiar cultural contrast, combining the Scottish heritage in the construction of the houses with the local tradition in furniture. Also, most of the current population of the Colony were workers of the factory, so thanks to their personal testimonies and family pictures, we can make an accuracy reconstruction of the history of the worker’s domestic interiors. Throughout the study, we will identify different qualities and furniture’s typologies related with the different status of the workers. We will recognize rural traditional furniture pieces at the ordinary worker’s houses in contrast of contemporary furniture at the keeper’s houses, with the quality of a middle-class bourgeois family.

3D Reconstructions as Research Hubs: Geospatial Interfaces for Real-Time Data Exploration of Seventeenth-Century Amsterdam Domestic Interiors

This paper presents our ongoing work in the Virtual Interiors project, which aims to develop 3D reconstructions as geospatial interfaces to structure and explore historical data of seventeenth-century Amsterdam. We take the reconstruction of the entrance hall of the house of the patrician Pieter de Graeff (1638–1707) as our case study and use it to illustrate the iterative process of knowledge creation, sharing, and discovery that unfolds while creating, exploring and experiencing the 3D models in a prototype research environment. During this work, an interdisciplinary dataset was collected, various metadata and paradata were created to document both the sources and the reasoning process, and rich contextual links were added. These data were used as the basis for creating a user interface for an online research environment, taking design principles and previous user studies into account. Knowledge is shared by visualizing the 3D reconstructions along with the related complexities and uncertainties, while the integration of various underlying data and Linked Data makes it possible to discover contextual knowledge by exploring associated resources. Moreover, we outline how users of the research environment can add annotations and rearrange objects in the scene, facilitating further knowledge discovery and creation.

(Re)creating the Eglantine Table

The Eglantine Table at Hardwick Hall (c.1568) was probably crafted to commemorate marriages made between the Hardwick-Cavendish and Talbot families. In addition to various heraldic symbols, the table’s friezes depict gaming paraphernalia, thirteen musical instruments, and several music books, including a stacked score of a devotional song by Thomas Tallis: ‘O Lord, in thee is all my trust’. While there is thorough existing scholarship on what the Eglantine Table depicts, this article explores what can be inferred about the contemporary value of musical recreation from how meaning was produced in the table’s iconography using a ‘material approach’ to music as both an object and also a sounding body. This article demonstrates why recreation, including music-making, is defined most prominently by why people choose to engage in it and the human actions that make recreation happen. Viewed in this fresh light, the Eglantine Table, including its musical iconography and notation, offers insight into the meaning of musical recreation and the values that shaped domestic interiors, objects and social bonds in an early modern English aristocratic home.

The Contribution of the Architect Pascuala Campos to the Implementation of a Gender Perspective in the Galician Context

The incorporation of women in society, as active professionals, was probably one of the most important parameters of modernity in the last century. Until the beginning of the twentieth century, women who entered the world of architecture were, generally, assigned to the design of domestic interiors. Thus, they were always in the background, which contributed to the concealment of the female gender perspective in architecture and an incomplete vision of its history. The general purpose of this article is to address the implicit problematic of the female contribution to architecture, through a theoretical reflection that aims at recognizing the relevant impact of Pascuala Campos’s work to the discipline in Galicia, Spain. The Spanish social and architectonic contexts, as well as the biography of Pascuala Campos, are analyzed to better understand her theoretical and architectonic production. The analysis combines data from different sources, mainly documental research, interviews, and architectonic surveys. The basic principles stressed in the theoretical production of Pascuala Campos are thus identified and served as analytic categories for the survey of the Combarro Urban Intervention. These results allowed the identification of concepts and projected guidelines interpreted as gender perspective-oriented.

Concrete Architecture: A Lost Opportunity?

When reinforced concrete was first used in Britain for framed buildings, it was treated in the same way as steel — that is, in terms of a simple grid of columns and beams. It took some time for one of the advantages of reinforced concrete to be realised, namely that it could be handled as a series of planes with walls and floor plates, which overcame the problem of intrusive beams and columns in domestic interiors. This essay explores the causes of this delay, as well as the work of the engineers who introduced architects to the architectural possibilities of reinforced concrete. In the immediate postwar years, when reinforced concrete was favoured over steel, there was a return to simple grid structures.

The Magical Metropolis

This chapter turns to the science of stagecraft, and to the endless recreations and adaptations of the wonders, magic, and treasures of the Arabian Nights that took place within the shows culture of nineteenth-century Britain. These authorless, ownerless tales presented ideal theatrical opportunities to display the rich landscapes, domestic interiors and dazzling treasures of the East within the public spaces of Britain. In so doing, they facilitated a kind of ‘virtual’ tourism, whereby audiences might participate in the adventurer’s narrative of discovery, infiltration, exploration, and safe return, without ever leaving England. At the same time, however, such performances fostered a self-reflective, inward movement, as an imaginative destination of childhood became a physical space that might be stepped into, examined and explored. Performances of the Arabian Nights had a disturbing capacity to evoke and to disrupt childhood memories, as they were reliant upon a substantial amount of labour and technical expertise in order to realise fully the workings of magic and the apparently spontaneous eruption of the supernatural on stage. As a vehicle for exploring the material and technological limits of nineteenth-century stagecraft, the wonder and enchantment of the Arabian Nights thus became inextricably intertwined with the wonder of machinery and technical ingenuity, as new techniques were developed for representing fantasy and manufacturing magic.

Applications of Photogrammetric Modeling to Roman Wall Painting: A Case Study in the House of Marcus Lucretius

Across many sites in Italy today, wall paintings face particular dangers of damage and destruction. In Pompeii, many extant fragments are open to the air and accessible to tourists. While efforts are underway to preserve the precious few examples that have come down to us today, after excavation even new finds begin to decay from the moment they are exposed to the air. Digital photogrammetry has been used for the documentation, preservation, and reconstruction of archaeological sites, small objects, and sculpture. Photogrammetry is also well-suited to the illustration and reconstruction of Roman wall painting and Roman domestic interiors. Unlike traditional photography, photogrammetry can offer three-dimensional (3D) documentation that captures the seams, cracks, and warps in the structure of the wall. In the case of an entire room, it can also preserve the orientation and visual impression of multiple walls in situ. This paper discusses the results of several photogrammetric campaigns recently undertaken to document the material record in the House of Marcus Lucretius at Pompeii (IX, 3, 5.24). In the process, it explores the combination of visual analysis with digital tools, and the use of 3D models to represent complex relationships between spaces and objects. To conclude, future avenues for research will be discussed, including the creation of an online database that would facilitate visualizing further connections within the material record.

"BIDROS" EN LOS INTERIORES DOMÉSTICOS EN EL BURGOS DEL SETECIENTOS Bidros in Domestic Interiors in Burgos during the 18th Century

Ya fuera por un mero criterio de funcionalidad doméstica, contribuir, en la medida de lo posible, a la calefacción de los hogares – complemento imprescindible al uso de chimeneas y braseros y al despliegue de pertrechos para la iluminación –, o por una necesidad socio-económica devenida de la cultura de las apariencias, la cultura material de los interiores domésticos de algunos hogares burgaleses del siglo XVIII estaba adornada con la aparición de vidrios y cristales en las ventanas, balcones y puertas de alcoba de sus estancias. ¿Qué hogares disfrutaban de tales pertrechos? ¿Qué montantes económicos se había invertido en su disponibilidad? ¿Cuántos vidrios y cristales se computan por hogar? ¿Se aprecia un devenir creciente en su implantación y signos evidentes de permeabilidad en su disfrute en las distintas estancias de las viviendas del Burgos del Setecientos?