Lataa ilmaiseksi

More documents

Recommendations

Info

D W E L L I N G W I T H D E S I G N 135 136 118 137 138 P 135–136. Mervi’s dining area and Modern art in a living room corner in 2004 P 137–138. Dining area and broken Modern art in 2005 M: Yes, it has. But what’s funny, when this was a studio, and we did all kinds of things, as in we worked with these prototypes here; at that time, this was such a confusing place (laughs). The most ridiculous thing was when we were thinking that we should get that lamp on the wall now and I just took the drill, and without a second thought just pzzzzzzzt [shows how she drilled a hole in the wall], without thinking at all that this is my home! I just put it there; this is my studio! Lots of stuff just left here and stuff came in so my attitude changed completely. Which made me laugh afterwards. And I’ve been left with (pause) there are still wallpaper samples, like, what would be good and some (pause). It was just so funny. (Mervi 05 74-82)
During our interview in 2005, there were some prototypes lying on the living room floor, a storage method explained by the fragility of the prototypes. Mervi introduced the term “out of sorts” when she was describing her home in 2005. By that, she meant, for example, a burned out, unchanged light bulb in the bathroom and the lamp and other wires being left out in clear sight (P 135–136 and P 137–138). Clearly, Mervi had not invested time into her dwelling, but, rather, had been efficient in her professional projects. Sakari and Elisa Sakari and Emma are two designers who were living in a rented two-room apartment with a kitchenette in a block of flats that had been built in 1960. They had lived there for four years at the time of my first visit in 2004. They had never done any kind of renovation work on the apartment, and in 2005 the situation was the same. In addition, they told me that, practically speaking, they had not done any interior decorating at all. Instead, things had just been put into their places and had remained there. 3 D E S I G N E N T E R S H O M E 119 HP: Do you do a lot of furnishing? Do you talk about interior decoration? S: Nooooo, no we don’t furnish at all, practically speaking, no. Well, yes, in a sense it is important what kind of immediate environment, or how this home is, physically and also visually, but, well, that it, like, with us, everything ends up quite naturally in its own place actually; we hardly ever change an arrangement or start wondering should we rearrange in order to make some changes here (laughs). No, we never do that. (Sakari & Elisa 05 362-368) Quite prominent in the apartment were the collections of flashlights and miniature cars, which Elisa and Sakari, respectively, collected. In addition, Sakari collected items that he had found throughout town and he had obtained an extensive amount of stuff that he had then stored around Helsinki. During our second interview in 2005, several pieces of furniture had changed places and the collections had vanished from sight (P 139–140 and P 141–142). Their removal was explained first by a lack of space, but since they had not acquired new pieces of furniture, the removal was not just about the actual lack of space. Indeed, later Sakari started to tell me that he had gotten tired of the huge amount of items and things that he had collected and stored.
Page 1 and 2:
Heidi Paavilainen Dwelling with des
Page 3 and 4:
Aalto University publication series
Page 5 and 6:
3 DESIGN ENTERS HOME 88 Introductio
Page 7 and 8:
Acknowledgements A C K N O W L E D
Page 9:
9A C K N O W L E D G E M E N T S
Page 12 and 13:
D W E L L I N G W I T H D E S I G N
Page 14 and 15:
Page 16 and 17:
Page 18 and 19:
Page 20 and 21:
Page 22 and 23:
Page 24 and 25:
Page 26 and 27:
Page 28 and 29:
Page 30 and 31:
Page 32 and 33:
Page 34 and 35:
Page 36 and 37:
Page 38 and 39:
Page 40 and 41:
Page 42 and 43:
Page 44 and 45:
Page 46 and 47:
Page 48 and 49:
Page 50 and 51:
Page 52 and 53:
Page 54 and 55:
Page 56 and 57:
Page 58 and 59:
Page 60 and 61:
Page 62 and 63:
Page 65 and 66:
65 definiNG DESIGN
Page 67 and 68: Classifying design 2 D E F I N I N
Page 69 and 70: I furniture (321) II lamps (168) II
Page 71 and 72: to study how the interviewees talke
Page 73 and 74: the list does, it reflects how the
Page 75 and 76: was limited to fun, nice and very h
Page 77 and 78: During the interviews, 16 household
Page 79 and 80: M: But it was almost darker than th
Page 81 and 82: T: This really doesn’t have any p
Page 83 and 84: Summary 2 D E F I N I N G D E S I G
Page 85: paradox is also evident in my data.
Page 88 and 89: D W E L L I N G W I T H D E S I G N
Page 153 and 154: STORING DESIGN
Page 155 and 156: 165 P 165. Anniina’s shelf 4 S T
Page 157 and 158: A bit later Janne outlined what had
Page 159 and 160: to, show off to. As against actual
Page 161 and 162: 168 169 4 S T O R I N G D E S I G N
Page 163 and 164: colours and sizes. And this is simp
Page 165 and 166: sizes; there are 2-seaters, comfort
Page 167 and 168: T: this has been protected like not
Page 169 and 170:
least fondly talked about. The prod
Page 171 and 172:
Other examples are a vintage dress,
Page 173 and 174:
190 191 4 S T O R I N G D E S I G N
Page 175 and 176:
the right spot, once the right spot
Page 177 and 178:
197 198 4 S T O R I N G D E S I G N
Page 179 and 180:
204 P 204. Janne’s sofa 4 S T O R
Page 181 and 182:
205 262 4 S T O R I N G D E S I G N
Page 183 and 184:
H: it’s some sort of aesthetic (p
Page 185 and 186:
to call the latter designs “dista
Page 187:
4 S T O R I N G D E S I G N 187
Page 190 and 191:
Page 192 and 193:
Page 194 and 195:
Page 196 and 197:
Page 198 and 199:
Page 200 and 201:
Page 202 and 203:
Page 204 and 205:
Page 206 and 207:
Page 208 and 209:
Page 210 and 211:
Page 212 and 213:
Page 214 and 215:
Page 216 and 217:
Page 218 and 219:
Page 220 and 221:
Page 222 and 223:
Page 224 and 225:
Page 226 and 227:
Page 228 and 229:
Page 231 and 232:
DESIGN limbo
Page 233 and 234:
Consequently, it started to seem th
Page 235 and 236:
252 253 6 D E S I G N L I M B O 254
Page 237 and 238:
256 P 256. Sanna & Kalevi’s sofa
Page 239 and 240:
for now, the study chair which, esp
Page 241 and 242:
259 260 6 D E S I G N L I M B O 241
Page 243 and 244:
261 P 261. Sanna & Kalevi’s livin
Page 245 and 246:
example. In 2004, he talked about h
Page 247 and 248:
little in the interviewees’ comme
Page 249:
design in the household. I have als
Page 252 and 253:
Page 254 and 255:
Page 256 and 257:
Page 258 and 259:
Page 260 and 261:
Page 262 and 263:
Page 264 and 265:
Page 266 and 267:
Page 268 and 269:
Page 270 and 271:
Page 272 and 273:
Page 274 and 275:
Page 276 and 277:
Page 278 and 279:
Page 280 and 281:
Page 282 and 283:
Page 284 and 285:
Page 286 and 287:
Page 288 and 289:
Page 290 and 291:
Page 292 and 293:
Page 294 and 295:
Page 296 and 297:
Page 298 and 299:
Page 300 and 301:
Page 302:
Dwelling with Design offers a throu
show all

Lataa ilmaiseksi

Create successful ePaper yourself

Delete template?

Save as template?