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D W E L L I N G W I T H D E S I G N 166 167 206 207 156 P 166–167. Janne’s Wirkkala wooden bowl in 2004 and anonymous wooden bowl in 2005 P 206–207. Janne’s two pots Janne provides the opposite example. In 2004, he mentioned that a wooden bowl by Tapio Wirkkala was one of his few favourite designs. But in 2005, the bowl had been put away and then forgotten. In its place, in the centre of the living room table was an item that Janne found far less pleasing (P 166–167): J: that “leaf ” bowl by Wirkkala is (pause) What happened to it? I think that we were on the road and we hid it. Just in case that (laughs) someone happens to come in and inventory our stuff (laughs) so we put it in hiding. HP: and you can’t find it anymore? J: I know where it is but it just has stayed HP: (laughs) okay J: I didn’t even remember it until I saw it [in the photograph]. HP: there’s another one now in its place J: yes, there’s a carpenter’s workshop, which does those kinds of gift items. We got it somehow as some sort of gift (pause) for my wife, that is. HP: but your forehead is wrinkling? (pause) J: well (pause) no, I don’t (pause) it’s quite, it’s quite, like, it’s quite nice, but it is a bit of a lump ( Janne 05 263-276)
A bit later Janne outlined what had happened to their two pots (P 206–207): J: The Nurmesniemi pot has rather shifted into less frequent use. It’s because, I mean, it wasn’t a conscious decision, thinking that “that item has been there long enough now, it’s time for something else in its place”. It just isn’t that kind of (pause) In relation to this renovation, it [the pot] moved into some box and then when we got the kitchen up and running, for some reason this it was clear pot that remained. And the situation hasn’t changed. The way it often goes, that a person doesn’t care to think all the time about all the possible issues (laughs) And most issues just fade into the background and are forgotten. ( Janne 05 480-487) 4 S T O R I N G D E S I G N 157 After having heard and read several similar kinds of stories that things just happen to be this or that way, without conscious, overall planning or complete control over the result, I became interested in looking more closely at these stories and realised that the stories were mostly about a mature integration of the design within the households. The people in the study were not talking about new items entering the home, but instead they were talking about what it was like to live with things that had been in their possession for a long time, sometimes for years or even decades. Nevertheless, the items had not become stable, near invisible fragments of self-evident daily routines. I started to wonder whether appropriating design should be understood differently than how the existing domestication literature defines the domestication of technologies and media. According to it, technology and media objects become integrated into a household’s temporal and spatial organisation (Silverstone 2006 234–235); but the framework emphasises the domestication of new objects. For example, Roger Silverstone writes that, Objectification and incorporation are the strategies, or maybe, if one is to be true to de Certeau, the tactics, of domestication. Objectification and incorporation involve placing and timing. The complexities and instabilities of domestic life, both well established and essentially fragile, move to meet the new arrival. (ibid. 234) This is understandable because the studies on domestication are most often about technologies and researchers have found that a perfectly domesticated product becomes invisible – that is, it has become so familiar that one does not pay attention to it:
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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 list does, it reflects how the
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was limited to fun, nice and very h
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During the interviews, 16 household
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M: But it was almost darker than th
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T: This really doesn’t have any p
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Summary 2 D E F I N I N G D E S I G
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paradox is also evident in my data.
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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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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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