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In the USSR, against the backdrop of political change and social instability in the 1920s, the issue of housing for the masses was addressed by the Association of Contemporary Architects (OSA), under the leadership of Moisey Ginzburg. Their mission was not only to provide a solution to the lack of accommodation in the major cities of the country, but to redefine housing as a framework suited to a society transitioning towards a fully socialised life. The response was developed in three stages of design research, over a period of five years. The initial conceptual phase was formally presented by members of the OSA at the 1926 Comradely Competition, and focused on the housing question, with specific designs for communal houses. The second stage revolved around the scientific and methodological research of the Stroykom, developed in parallel with the designs for the new communal living units. The final stage took material form in six specific buildings, known as transitional-type experimental houses. One of these, the Narkomfin, gained worldwide recognition as a modern prototype of Soviet avant-garde housing, and has been widely researched as a result. However, to date no study has approached all three phases with equal scrutiny and methodology. This article offers a detailed account of the OSA's experimental design strategies for collective workers' housing between 1926 and 1930 under Ginzburg's leadership by examining original sources, as well as analysing and restoring the individual projects at each stage. It provides a new interpretation of the famous Narkomfin House and ideas on the first Soviet avant-garde housing project by reconstructing the complex research context in which the building, in tandem with other projects, was developed.

The Colombian Financial System Statute (EOSF) and other legal instruments establish that exclusions must appear on the first page of the insurance policy in order to be enforceable. In this paper I analyze what should be understood by insurance policy in such context, which are the exclusions that must appear on its first page, and what happens with those that do not comply with this requirement. To answer these questions, I review the Circular Básica Jurídica which contains regulation to implement the EOSF, the doctrine on standard form contracts, and the legislative history of the law being analyzed. I conclude that the EOSF's rule on exclusions pertains only to the exclusions contained in insurance standard forms and that additional exclusions can be made part of the contract as long as they are dickered terms. ; En el Estatuto Orgánico del Sistema Financiero (EOSF) y en otros instrumentos se establece que "las exclusiones deben figurar en la primera página de la póliza" "so pena de ineficacia de la estipulación respectiva". En este artículo analizo qué debe entenderse por póliza, cuáles son las exclusiones que deben figurar en su primera página, y qué sucede con las que no cumplen este requisito. Para dar respuesta a estas preguntas reviso la Circular Básica Jurídica que desarrolla el EOSF, la doctrina sobre la contratación mediante condiciones negociales generales, y los antecedentes legislativos de las normas analizadas. Concluyo que la regla del EOSF está regulando las condiciones negociales generales o clausulado del contrato de seguro y que consecuentemente aplica únicamente a las exclusiones generales, pudiendo las partes acordar exclusiones particulares cuya eficacia no está condicionada a ninguna formalidad.

In the USSR, against the backdrop of political change and social instability in the 1920s, the issue of housing for the masses was addressed by the Association of Contemporary Architects (OSA), under the leadership of Moisey Ginzburg. Their mission was not only to provide a solution to the lack of accommodation in the major cities of the country, but to redefine housing as a framework suited to a society transitioning towards a fully socialised life. The response was developed in three stages of design research, over a period of five years. The initial conceptual phase was formally presented by members of the OSA at the 1926 Comradely Competition, and focused on the housing question, with specific designs for communal houses. The second stage revolved around the scientific and methodological research of the Stroykom, developed in parallel with the designs for the new communal living units. The final stage took material form in six specific buildings, known as transitional-type experimental houses. One of these, the Narkomfin, gained worldwide recognition as a modern prototype of Soviet avant-garde housing, and has been widely researched as a result. However, to date no study has approached all three phases with equal scrutiny and methodology. This article offers a detailed account of the OSA's experimental design strategies for collective workers' housing between 1926 and 1930 under Ginzburg's leadership by examining original sources, as well as analysing and restoring the individual projects at each stage. It provides a new interpretation of the famous Narkomfin House and ideas on the first Soviet avant-garde housing project by reconstructing the complex research context in which the building, in tandem with other projects, was developed.

Uno de los procesos más interesantes que se puede documentar por medio de la participación de los Gobiernos japoneses en las exposiciones universales de la segunda mitad del siglo XIX es el papel que tenía en las relaciones internacionales el peso de la tradición cultural de cada nación manifestada a través de obras artísticas. Japón entendió muy pronto este aspecto de la política internacional y progresivamente configuró un discurso propio sobre la historia del arte japonés estableciendo una delimitación con las interpretaciones que desde Occidente se hacía de la misma. En este artículo se intentará observar las diferentes circunstancias de participación por parte de Japón en estas efemérides prestando especial atención a aquellos documentos o acciones que las autoridades japonesas publicaron o realizaron para dar a conocer su patrimonio. La mejora de las condiciones materiales de Japón repercutió especialmente en su representación en estas, pero desde un principio existió la apuesta por participar siempre en estos eventos. Se evidencia así la prioridad para el Gobierno japonés de ser visto en compañía del resto de las naciones y, a ser posible, de las potencias más desarrolladas. La razón última de esta perenne necesidad de retratarse continuamente frente al mundo radica en la insistencia del resto de potencias desarrolladas occidentales de emplazar el papel de Japón dentro del mundo en una categoría inferior, menos desarrollada y que consideraba, por ende, su arte en la misma posición de inferioridad. Dentro de esta evolución, la participación en la Exposición Colombina de Chicago del año 1893 marca un hito al ser la primera ocasión en que se expone a un público extranjero un discurso consistente e hilado de una historia del arte japonés materializado en un pabellón arquitectónico considerado uno de los puntos álgidos de su producción artística. Se daba el primer paso para un definitivo viraje en la posesión del conocimiento y articulación sobre el arte japonés que se consolidaría en la Exposición Universal de París de 1900. ; The role of the cultural tradition of a nation manifested through its art works in international relations such as seen at the Universal Exhibitions during the second half of the 19th century has been documented, but it is particularly fascinating if we pay attention to Japan's participation in such exhibitions. Japan understood this aspect of international politics explicitly and progressively configured its very own discourse on Japanese Art History, a subject which until that time had been primarily interpreted through Western perspectives. This article will try to analyze the different circumstances of Japan's participation in these events, paying special attention to documents published or actions taken by Japanese authorities in order to disseminate knowledge of its heritage. While the improvement of material conditions in Japan had a direct influence in Japan's representation in the exhibitions, already from the beginning there was a bet by the Japanese Government to be there. This indicates Japanese authorities' priority to showcase Japan together with the rest of the participating nations in the hopes that Japan would be seen as one of the most developed nations. Another reason for such need to present itself to the world was the insistence by the rest of the developed countries on placing Japan within an inferior category, as less developed, and consequently, placing its art in the same inferior position. Within this evolution of Japan's regaining its right to its own Art History, its participation in the Columbine Exhibition of Chicago in 1893 was epoch-making, since it was the first occasion in which the international public was presented with a consistent and solid discourse on Japanese Art History materialized in an architectonic pavilion considered to be one of the apexes of Japan's artistic production. It was the first step into swinging the balance in the possession and articulation of knowledge on Japanese Art that would be completely secured by the time of the Paris Universal Exhibition of 1900

The role of the cultural tradition of a nation manifested through its art works in international relations such as seen at the Universal Exhibitions during the second half of the 19th century has been documented, but it is particularly fascinating if we pay attention to Japan's participation in such exhibitions. Japan understood this aspect of international politics explicitly and progressively configured its very own discourse on Japanese Art History, a subject which until that time had been primarily interpreted through Western perspectives. This article will try to analyze the different circumstances of Japan's participation in these events, paying special attention to documents published or actions taken by Japanese authorities in order to disseminate knowledge of its heritage. While the improvement of material conditions in Japan had a direct influence in Japan's representation in the exhibitions, already from the beginning there was a bet by the Japanese Government to be there. This indicates Japanese authorities' priority to showcase Japan together with the rest of the participating nations in the hopes that Japan would be seen as one of the most developed nations. Another reason for such need to present itself to the world was the insistence by the rest of the developed countries on placing Japan within an inferior category, as less developed, and consequently, placing its art in the same inferior position. Within this evolution of Japan's regaining its right to its own Art History, its participation in the Columbine Exhibition of Chicago in 1893 was epoch-making, since it was the first occasion in which the international public was presented with a consistent and solid discourse on Japanese Art History materialized in an architectonic pavilion considered to be one of the apexes of Japan's artistic production. It was the first step into swinging the balance in the possession and articulation of knowledge on Japanese Art that would be completely secured by the time of the Paris Universal Exhibition of 1900. ; Uno de los procesos más interesantes que se puede documentar por medio de la participación de los Gobiernos japoneses en las exposiciones universales de la segunda mitad del siglo XIX es el papel que tenía en las relaciones internacionales el peso de la tradición cultural de cada nación manifestada a través de obras artísticas. Japón entendió muy pronto este aspecto de la política internacional y progresivamente configuró un discurso propio sobre la historia del arte japonés estableciendo una delimitación con las interpretaciones que desde Occidente se hacía de la misma. En este artículo se intentará observar las diferentes circunstancias de participación por parte de Japón en estas efemérides prestando especial atención a aquellos documentos o acciones que las autoridades japonesas publicaron o realizaron para dar a conocer su patrimonio. La mejora de las condiciones materiales de Japón repercutió especialmente en su representación en estas, pero desde un principio existió la apuesta por participar siempre en estos eventos. Se evidencia así la prioridad para el Gobierno japonés de ser visto en compañía del resto de las naciones y, a ser posible, de las potencias más desarrolladas. La razón última de esta perenne necesidad de retratarse continuamente frente al mundo radica en la insistencia del resto de potencias desarrolladas occidentales de emplazar el papel de Japón dentro del mundo en una categoría inferior, menos desarrollada y que consideraba, por ende, su arte en la misma posición de inferioridad. Dentro de esta evolución, la participación en la Exposición Colombina de Chicago del año 1893 marca un hito al ser la primera ocasión en que se expone a un público extranjero un discurso consistente e hilado de una historia del arte japonés materializado en un pabellón arquitectónico considerado uno de los puntos álgidos de su producción artística. Se daba el primer paso para un definitivo viraje en la posesión del conocimiento y articulación sobre el arte japonés que se consolidaría en la Exposición Universal de París de 1900.

During the Meiji period the city of Kyoto faced the challenge of competing against the new capital of Tokyo after losing its capital status with the move of the Emperor and its entourage to the Kantō region. One of the strategies used in order to re-launch its activity was the organization of different industrial and civil engineering activities, which transformed the way of life of its citizens. The second strategy, promoted by the city´s cultural and political elites, and fostered by the national policies of building a nation-state, was the symbolic configuration of the city and its surroundings as the spiritual origin of the country: a city which had preserved during several generations the values and ideals that shaped what it meant to be Japanese. The realization of these policies took place, for instance, in the trips to the monuments of the capital by primary and secondary schools. At the same time, it was an education process for the future citizens of the Japanese Empire by helping them establish a collective imaginary of the national past. Travel guides and books on the places not to miss while in the ancient capital would be fairly common during the Taishō period when the city was already the favourite destination for national and foreign visitors, and the image of Kyoto as the repository of the nation was completed. ; Durante el período Meiji la ciudad de Kioto, tras la pérdida de su capitalidad, se enfrentó al reto de competir frente a la nueva capital, Tokio, también con el traslado del emperador y su séquito a la región de Kantō. Una de las estrategias que usó para relanzar su actividad fue la organización de diferentes actividades industriales y de ingeniería civil que transformaron los modos de vida de sus ciudadanos. La segunda estrategia, que sus élites culturales y políticas promovieron al hilo de las políticas de construcción de una nación-estado, fue la configuración simbólica de la ciudad y sus alrededores como el origen espiritual del país. Una ciudad que había preservado durante decenas de generaciones los valores e ideales que configuraban lo que significaba ser japonés. La materialización de estas políticas tuvo en los viajes a los monumentos de la capital por parte de los estudiantes de primaria y secundaria un buen ejemplo, y logró al mismo tiempo educar a los ciudadanos del posterior imperio japonés estableciendo un imaginario colectivo del pasado nacional. Guías de viaje y libros sobre los lugares imprescindibles en las visitas a la ciudad serían algo habitual en el período Taishō cuando la ciudad se había convertido ya en el destino preferente de los visitantes nacionales y foráneos, y la imagen de Kioto como el repositorio de la nación, se había visto completada.

Durante el período Meiji la ciudad de Kioto, tras la pérdida de su capitalidad, se enfrentó al reto de competir frente a la nueva capital, Tokio, también con el traslado del emperador y su séquito a la región de Kantō. Una de las estrategias que usó para relanzar su actividad fue la organización de diferentes actividades industriales y de ingeniería civil que transformaron los modos de vida de sus ciudadanos. La segunda estrategia, que sus élites culturales y políticas promovieron al hilo de las políticas de construcción de una nación-estado, fue la configuración simbólica de la ciudad y sus alrededores como el origen espiritual del país. Una ciudad que había preservado durante decenas de generaciones los valores e ideales que configuraban lo que significaba ser japonés. La materialización de estas políticas tuvo en los viajes a los monumentos de la capital por parte de los estudiantes de primaria y secundaria un buen ejemplo, y logró al mismo tiempo educar a los ciudadanos del posterior imperio japonés estableciendo un imaginario colectivo del pasado nacional. Guías de viaje y libros sobre los lugares imprescindibles en las visitas a la ciudad serían algo habitual en el período Taishō cuando la ciudad se había convertido ya en el destino preferente de los visitantes nacionales y foráneos, y la imagen de Kioto como el repositorio de la nación, se había visto completada ; During the Meiji period the city of Kyoto faced the challenge of competing against the new capital of Tokyo after losing its capital status with the move of the Emperor and its entourage to the Kantō region. One of the strategies used in order to re-launch its activity was the organization of different industrial and civil engineering activities, which transformed the way of life of its citizens. The second strategy, promoted by the city´s cultural and political elites, and fostered by the national policies of building a nation-state, was the symbolic configuration of the city and its surroundings as the spiritual origin of the country: a city which had preserved during several generations the values and ideals that shaped what it meant to be Japanese. The realization of these policies took place, for instance, in the trips to the monuments of the capital by primary and secondary schools. At the same time, it was an education process for the future citizens of the Japanese Empire by helping them establish a collective imaginary of the national past. Travel guides and books on the places not to miss while in the ancient capital would be fairly common during the Taishō period when the city was already the favourite destination for national and foreign visitors, and the image of Kyoto as the repository of the nation was completed

Norms and handbooks have played a key role in the design of residential rooms in Sweden since the 1940s. Ever since, changes in housing policies have led to varying definitions and regulations of residential rooms, allowing their existence, defining their configuration, and framing their performance. And yet, none of these rooms has been built; they are prescribed room types that belong in the pages of handbooks that validate the framework in which housing design can operate. What are these prescribed room types? What do they look like? Who and what do they include? Have they changed over time? In response to these questions, this article follows the evolution of a set of residential room types in the design handbooks that have accompanied housing policy bills in Sweden from 1942 to 2023. These manuals are not the law itself but operate as an interface for professionals and designers by reflecting the practical consequences of the norm. Diagrams, dimensions, texts, and references to housing literature vary from handbook to handbook to define the specific traits of each type of room. By studying these traits in relation to key moments of Swedish housing politics, the article reveals the role that norms and standards have played in the establishment of the regulatory regime in which housing design in Sweden operates today.

Published within half a century from each other, French manual The Corset Through the Ages (1893) written by Ernest Léoty and the Swedish housing investigation The Family that Outgrows its Home (1941) led by social researcher Brita Åkerman constituted two landmarks of the sexo-political discourses for the construction of the sexualized body and the regulation of gender and family politics. While the French corsetier presented the stay as a technological and social mold of the feminine body that had its routes in antiquity, Åkerman was amassing one of the most thorough collections of knowledge on residential spaces in order to penetrate and modify daily life and social relations within the Swedish domestic realm. This article juxtaposes two apparatuses external to the body —the corset of the Victorian period and the Swedish research-based domestic space of the postwar years— that were aimed at regulating the feminine and masculine anatomy and its movements, imposed physical and sexual literacy and instigated procreative conducts. By looking into the scientific discourses governing each mechanism, their specific technologies and the instructional knowledge designed to deploy them, this study seeks to chart how orthopedic politics developed during the 19th and 20th century through disciplinary exoskeletons have helped to invent, map out and fix the somatic fictions of sexual epistemology that constituted the basis of the biopolitical modern regime. Through a close reading of garment patterns, housing plans, scientific texts, how-to manuals and usage guidelines, the article discusses Foucauldian models of biopolitical power and the administering of life as a tool for architectural analyses. Based on this proposition, it reflects on the centrality of sex and sexuality in modern ortho-architectural apparatuses and rises critical questions about their intervention into the biological and social structure of our contemporary society.

Resumen basado en el de la publicación ; Monográfico con el título: "Formación del profesorado en competencias" ; Se analiza el contenido de los Reales Decretos de Enseñanzas Mínimas comparando la Ley de Ordenación General del Sistema Educativo y la nueva Ley Orgánica de Educación en la etapa de Primaria, con el fin de esclarecer los cambios propuestos y ser aplicados al aula por el profesorado más fácilmente. Como metodología se utiliza el análisis de contenido de los textos, reduciendo los datos a categorías temáticas de manera inductiva y realizando un conteo de frecuencias de aparición de dichas categorías. Se inducen cinco dimensiones con 42 categorías detallando el cambio en cada una de ellas. Los resultados muestran notables variaciones en el contenido de dichos Reales Decretos, reflejando el cambio de los intereses sociales de una Ley a otra. Se plantea hacia dónde deben encaminar su docencia los profesores de Educación Física según la importancia otorgada en cada documento legislativo a las categorías definidas. ; ESP