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D W E L L I N G W I T H D E S I G N 110 The diversity of the DIY projects was at one point explained by the father’s education principle, which holds nature and creativity to be valuable, and his willingness to encourage their children to cultivate an appreciation for both. F: The principal ideas that I have, are, that there are two things to keep safe, which are nature and creativity (laughs). And if we think about it from the children’s point of view, it is that you let them do and draw and tinker and encourage them, too. Not to say, “Why are you doing such things?” but precisely, “Oh that is nice.” (Family Ylinen 06 203- 206) Their domestic DIY projects were no doubt an important part of the household’s identity and a form of self-expression, but again, similarly as with Asta, they also seemed to be connected with a need to take care of, not so much of the products, but of nature, family’s wellbeing and their children’s happiness. On the other hand, the family did not seem to care about design magazines or any kind of interior decorating and the mother described their interior decoration as “assorted works” and “a true mixture”. HP: Have you, have your products changed a lot? M, F: Both laugh. M: Collected works, you know, collected works is our middle name (Family Ylinen 06 479-481) M: (laughs) Oh, real design for sure, this, ours, is so chaotic. A mixture of everything. I have even said that there is nothing else we have purchased ourselves except this and those shelves when [one of children] needed a shelf for prizes [from a hobby] (Family Ylinen 06 629-632) They explained their mixed decoration style by saying that they had bought very little for themselves, and that most of their pieces of furniture and the objects on display had been inherited and then painted or repaired or crafted by themselves. They had reworked the pieces without the intention of crafting decorative items that fit the décor, but instead with other goals in mind, such as preserving nature and the family’s history (P 126–127). As a consequence, the interior decoration had not changed in, let’s say, an organised manner, meaning that visions about interior decoration as an object unto itself did not guide the changes that they made to their home.
126 127 3 D E S I G N E N T E R S H O M E 111 Appropriating design with autonomous ease The Ylinen family and Asta were both investing lots of time into doing crafts, tuning and renovation work, but the manner in which they approached their projects was very matter-of-fact. The Ylinen family denied doing anything at all, whereas Asta talked about her many crafting and tuning projects and their renovation work without pointing to any problems in accomplishing them. Both families were highly competent in what they were doing and apparently self-sufficient. Kalle & Emma, Anniina and Tiina had invested lots of time into their projects, but they did not intend to do any more of them once they had finished. Their contexts were also relatively simple because they did not feel the need to take into account outside pressure, whether that outside pressure came from relatives, architectural standards or somewhere else, which is something that was common to all of the households in this group: they were very independent and mostly just consulted their own taste and household moral principles when making design decisions. P 126–127. The collection of mostly inherited ceramics and a general view to the living room
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Heidi Paavilainen Dwelling with des
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Aalto University publication series
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3 DESIGN ENTERS HOME 88 Introductio
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Acknowledgements A C K N O W L E D
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9A C K N O W L E D G E M E N T S
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D W E L L I N G W I T H D E S I G N
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Page 65 and 66: 65 definiNG DESIGN
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168 169 4 S T O R I N G D E S I G N
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colours and sizes. And this is simp
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sizes; there are 2-seaters, comfort
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T: this has been protected like not
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least fondly talked about. The prod
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Other examples are a vintage dress,
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190 191 4 S T O R I N G D E S I G N
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the right spot, once the right spot
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197 198 4 S T O R I N G D E S I G N
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204 P 204. Janne’s sofa 4 S T O R
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205 262 4 S T O R I N G D E S I G N
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H: it’s some sort of aesthetic (p
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to call the latter designs “dista
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4 S T O R I N G D E S I G N 187
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DESIGN limbo
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Consequently, it started to seem th
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256 P 256. Sanna & Kalevi’s sofa
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for now, the study chair which, esp
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259 260 6 D E S I G N L I M B O 241
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261 P 261. Sanna & Kalevi’s livin
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example. In 2004, he talked about h
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little in the interviewees’ comme
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design in the household. I have als
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Dwelling with Design offers a throu
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