Polskie międzywojenne poradnictwo w zakresie wnętrz mieszkalnych jako obszar relacji niemiecko‑polskich

During the interwar period, Polish interior design consulting stimulated our national achievements; however, it did not happen in isolation from foreign trends. One of the most distinct influences were the accomplishments of German residential culture. The previous German influence had been coloured by negative associations: with the period under German occupation on the one hand, and with the outdated apartment functions and aesthetics based on the residential culture of the late 19th century and its neo-style furnishings on the other. Yet as early as in the late 1920s, a completely different German horizon began to appear, gaining popularity in the 1930s. Ever since then German interior design and furnishing achievements became synonymous with rationality, functionality, and even, broadly speaking, general modernity. It is therefore difficult to present an unambiguous diagnosis of the German-Polish relationship relating to habitation during the interwar period. On the one hand it was difficult to escape the tensions generated by political and national prejudices, and on the other, to evade the neighbouring German cultural achievements and their real and positive impact on many Polish accomplishments, especially in the realms of architecture and habitation. One may say that the emotional antagonism which could be seen during the 1920s faded with time and was displaced, at least among experts, by an awareness of the nearby existence of successful models which, thanks to specialist literature and books, along with visiting fairs and exhibitions, were well known and appreciated.

Spatial Form Analysis and Sustainable Development Research of Traditional Residential Buildings

Three courtyards nine halls is an important cultural asset in eastern Zhejiang. This paper takes Three courtyards nine halls dwellings in the eastern part of Zhejiang province of China as the research object, collecting data with field research, measurement, interviews and other research methods, to analyze the spatial characteristics and construction culture of traditional dwellings. Research findings: First, influenced by the natural environment, artificial environment and social environment, three courtyards nine halls is a complex of residential buildings with san-ho-yuan as a unit, extending vertically and horizontally. Second, with the influences of the Confucian culture, the architectural layout is symmetrically distributed along the central axis, and the architectural space presents a high degree of consistency. Third, the architectural complex was formed by the same clan. The last one is that the architectural form and culture show consistency, which implies the idea of harmony between man and nature, the farming and studying hand down from generation to generation. On the one hand, with the acceleration of the urbanization process, living conditions have been greatly improved. On the other hand, due to the weak awareness of residents’ protection of traditional residential cultural assets, lack of systematic study on traditional residential construction methods, construction techniques and space culture, new buildings are not in harmony with traditional dwellings, therefore, traditional dwellings are seriously damaged. This paper discusses the sustainable development of traditional residential culture by studying the construction and environmental elements of Three courtyards nine halls, taking the residential space as a principal part to analyze the characteristics, functional attributes, organizational principles, order, and sense of place.

Getuigen van de Arubaanse geschiedenis en identiteit

Testimonials of Aruban history and heritage: the kunuku houses and cas floria On the island of Aruba, traditional houses are often decorated with unique symbols. Houses with these decorations are called ‘cas floria’, meaning decorated house. The origin for this style of building and the meaning of the symbols presumably stem from the culture of the native inhabitants of Aruba (Indians). Over the course of time, the Dutch colonial power had influence on the residential culture on Aruba. They introduced stone houses and building materials such as roof tiles and cement. The native population gradually started replacing their loam houses for stone versions. In the 19th century, the building style of cas floria arose. These houses were found mostly in the historic native settlements. For the colonial settlers, these symbols had no special meaning and so they did not live in decorated houses. Nowadays, a lot of cas floria and traditional kunuku houses have become ruins. However, many of those historic houses have remained and are still inhabited to this day. The Monumentenbureau Aruba has been lobbying with the Aruban Government to grant the traditional kunuku houses and cas floria a protected monumental status, so that this part of Aruban heritage and identity will be preserved for future generations.

The Study on the Residential Space in Culture-led Urban Regeneration: a case study of Residential Space in Henan

The concept of culture-led urban regeneration is one design solution for restoring urban vitality and re-creating urban culture based on the tangible and intangible cultural resources of the city. As an important part of culture, residential culture is changing with the development of society. Literature shows that there are still deficiencies in the study of residential culture in culture-led urban regeneration. This study tried to find the cultural identity and belonging in the residential space in one hand, create a suitable space layout in the other hand. The living space pattern of traditional and modern is summarized. The cultural characteristics of Henan province have been abstract and offering the basis of the improvement solution for living space from the perspective of cultural. This study offered the reference to the culture-led urban regeneration of Henan province.

The Spatial Factors of Cultural Identity: A Case Study of the Courtyards in a Historical Residential Area in Beijing

The issue of identity is very complex and determining the factors influencing cultural identity is a key issue. Several scholars have studied the factors influencing cultural identity. However, relatively little attention has been paid to how spatial factors influence cultural identity. This paper takes a historical and cultural conservation block in Beijing, China, as the research area. This area includes eight lanes and is called Eight Lanes in North Xisi. The purpose of this paper is to demonstrate that spatial changes in living conditions, layout, size, architectural form, and decoration, etc. in the courtyards led to changes in the traditional culture of the courtyards, which ceased to reflect the original residential culture, which led to a decline in cultural identity. Spatial factors directly affected the residents’ cultural identification with harmonious courtyard culture. This view adds nuance to debates about cultural identity and the factors that influence it. From the perspective of cultural geography and by using structural equation modelling, we draw two main conclusions. First, the smaller proportion of public space (The term “space” as it is used in this paper is based on the understanding of humanistic geographers and refers to physical space; it does not acquire meaning and cultures.) is one main factor affecting residents’ identification with the harmonious residential culture of the case area. Second, the greater population density of the courtyards is another main factor affecting residents’ identification with the area’s harmonious residential culture.

Homebound: The Art of Public Space in Contemporary Cuba

Despite the home's long history as a locus of cultural and political action in Cuba, serious studies of its informal residential culture are only now beginning to emerge. This article explores how the exhibition of art in private homes intervenes in debates about public space in Havana. It situates these exhibition practices historically with respect to the spatial politics of the Cuban Revolution of 1959, while mapping the reorganization of official and unofficial cultures after the demise of the Soviet bloc. Bringing into relief how these home exhibits problematize state and market alliances in the postsocialist context, I argue that these practices are doubly embedded in local as much as global polemics regarding the place—literally and metaphorically—of art today.