Pleasures and terrors of domestic comfort

Abstract

During the time of industrialization, the city became methodologically constructed from a repeatable pattern based on a grid. A methodology that leads to design from the large scale towards the small scale as the grid as an outline of property. Through this the industrialization of the house brought a specific kind of representation forth. A house as a machine for living that shapes the nuclear family as the diagram on which society is based. The family apartment is still what developers are trying to provide to the market where all our habitual habits are being standardized to specific commodities. One of the issues is the fact that the home is a kind of neutralized entity that we take as common sense.
Within this infrastructure, the home/apartment is viewed as a relationship from the urban condition. From this we tend to that the outline of the house/apartment, outline of the property, is the first engagement with the city. Within the borders the home is perceived as a private domain, away from the public. A space outside time, politics, and economy. Through this the home/apartment is a composition of functions with a possible range of different configuration that follows the logic of the grid.
Within this configuration of function its inhabitants can decorate the home/apartment as a form of representation of someone who lives inside the home/apartment. Which is a range of selection of objects that fits within function of the room. The décor of the home/ apartment is widely understood as a sort of memetic representation of its inhabitants, despite the obvious falsity of this. In other words, the home is a particular genre of space theoretically an infinite array of possibilities laid out, but this becomes the same through cultural appropriations.