Abstract

Privacy was the greater contribution from the bourgeoisie to domestic space and Comfort its necessary attribute. Comfort represents the piety of the house towards its inhabitants. This domestic comfort has supposed substantial changes in the relationship of man with objects, and not only in its utilitarian character but also in the symbolic aspects. The present article is twisting, as in a musical fugue, the evolution of the concept of comfort with significant episodes of the atypical conversion of objects into architecture. The aim is to show how the growing prominence of both terms, comfort and objects, requires a rethinking of architecture that goes beyond the aseptic invisibility to which one wants to relegate.