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D W E L L I N G W I T H D E S I G N 143 144 124 P 143–145. Ilmari’s door to the kitchen, entrance floor and kitchen working surface 145 I: Because upstairs I have it in a way, like, designed; there’s stuff there, it’s quite polished. There isn’t much stuff apart from what I have chosen. (pause) It’s like a negative of this [downstairs apartment]. Every object there has been chosen by me. And I wouldn’t want anything extra there. (Ilmari 04 96-99) In addition to the design for the renovation work, he had tuned the lamps. He explained this by saying that he liked to shop for lamps, but, at the same time, he was unable to find the types of lamps that he liked. I: One of the few things that I’ve shopped around for a lot in my life has been lamps. I mean, I have never bought any. Because I never find the kind of lamps I want. I have searched, it’s like, I sort of need to, I don’t
do shopping, like, it would be nice to get some object as such, but in my opinion light is an interesting thing (pause) and I’ve looked for a long time for a lamp for the room and I haven’t seen one, I haven’t found one anywhere and (pause) Once I saw, I was somewhere in Italy or somewhere and there was a lamp shop, and I was like wow, there will be some really fine lamps here. But you can’t bring something big and made of glass [in your luggage]. So that [chandelier] was bought from Anttila Tennispalatsi, must have cost around 60 marks at that time I think. That’s just like that, ordinary. But it was (pause) But then again, I have had this habit, I started to build them. So this is the minimalist one. Originally there were, I changed the glass there. (Ilmari 05 235-250) 3 D E S I G N E N T E R S H O M E 125 As a result, he told that he tunes his purchases. In Ilmari’s case, tuning means, for example, adding crystals to a cheap chandelier or putting coloured film over the light source or covering the lamp with a veil. He did not see this as designing, but, rather, as a form of play, of having fun. I: I don’t design my environment at all. These are all, like, small things, they sort of flicker, so that some things are just funny. There’s a kind of humour in it. (pause) Like the idea of playing with a material in some sense. Which is a normal part of the creative process. You take the materials and then you play with them and then, at some point, like, hey, now this looks nice. (laughs) (Ilmari 05 325-330) Liisa Liisa lived in rented one-room apartment with a kitchenette that was part of a block of flats built in 1985, and she is one of the people that I contacted with the idea that she probably had no interest in branded design; therefore, I felt that she would provide me with glimpses into living with design in a way in which the institutional properties of design would not play a prominent role. And, indeed, there was very little branded design in Liisa’s apartment. In addition, she was also one of the rare households in the sample that had not undertaken any renovation work in her apartment. Due to a couple of accidents, only part of the first interview with Liisa was recorded; therefore, in her case I am mostly relying on hand-written notes without verbatim quotes.
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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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65 definiNG DESIGN
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Classifying design 2 D E F I N I N
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I furniture (321) II lamps (168) II
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to study how the interviewees talke
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the right spot, once the right spot
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204 P 204. Janne’s sofa 4 S T O R
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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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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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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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