Nineteenth-century Dutch water-color by Jacob Willemsz. de Vos (1774-1844), after a painting by Quiringh Gerritsz. van Brekelenkam, entitled The Tailor’s Workshop. The attributes of interior domestic comfort familiar today were not formalized in the West until the mid-seventeenth century, when a newly prosperous middle class began to create a more universal idea of domestic ease. Nevertheless, the idea of comfort in part was merely a naming and formalization of sensations that humans have always felt rally misunderstood: it is confused with the simplistic act of pulling together components such as lighting, color, and furniture according to generic ergonomic criteria.
Our standards for comfort, part of the way we are made, Home decor ideas predate the articulation or verbalization of the concept. Comfort is not an invention but the naming of certain sensations that had already been felt. Witold Rybcyznski has said: “People in the Middle Ages did not altogether lack comfort […] but what comfort there was never explicit. What our medieval ancestors did lack was the awareness of comfort as an objective idea.â€56 Similarly, once the factors that make up the concept of comfort are enumerated, it will be easier to elaborate on what design factors create the perception of what is comfortable.
Comfort, once identified, builds upon and reinforces itself, resulting in ever greater support for the human being. As architectural historian Sigfried Giedion wrote, the “notion of comfort means different things to different civilizations. Comfort can be achieved in many directions. It amounts to whatever holds necessary for his ‘fortifying’, his ‘strengthening.’â€57 When experienced, comfort allows someone, almost subconsciously, to be at ease, to naturally be themselves. Regardless of the period, style, scale, or complexity of a design, this is one of the basic qualities that must be captured.
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