Although ordinary Samoan houses are built by their inhabitants-to-be, custom demands guest houses be built exclusively by carpenters. Since these carpenters need to find clients, they are in business as artists; and they begin to make personal innovations and changes for no reason except that prospective clients will judge their work for its inventiveness.
The form-makers assertion of his individuality is an important feature of self-consciousness. Think of the willful forms of our own limelight-bound architects. The individual, since his livelihood depends on the reputation he achieves, is anxious to distinguish himself from his fellow architects, to make innovations, and to be a star.
If the designer sees a conflict between the need to have sufficient capacity in a kettle and the need to conserve storage space, he does so because he has certain preconceptions in mind about the kinds of kettle which are possible. It is true that there are conceivable devices, not yet invented, for boiling water as it comes out of the faucet, and these might take very little storage space.
Any state of affairs in the ensemble which derives from the interaction between form and context, and causes stress in the ensemble, is a misfit.
The existence of a performance standard and the association of a numerical value with a misfit variable (eg. maintenance costs per year, acoustic reduction in decibels), does not mean that the misfit is any more keenly felt. There are many, many misfits for which we do not have a scale. Some typical examples are “boredom in an exhibition”, “comfort for a kettle handle”, “security for a lock”, or “human warmth in a living room.” No one has yet invented a scale for unhappiness or discomfort or uneasiness, and it is impossible to set up performance standards for them.