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D W E L L I N G W I T H D E S I G N Distant designs 176 This section discusses those designs that the interviewees actively found displeasing; they clearly wanted to create a distance between their taste and the product – hence, the name “distant designs”. What makes this category of products interesting to study is that sometimes the products were used frequently, even daily. A selection of photographs of such products from the sample illustrates the diversity of these kinds of designs (P 197–203). In the sample, there were some products that the interviewees explicitly disliked, even hated. They had indeed gotten rid of most of these really displeasing products, but still there where those that they were still using, displaying or at least storing in the apartment. In 2005, Hannele described her delight that a Marcel vase had broken when a bookcase had collapsed in the kitchen. H: The big Marcel vase by Sarpaneva broke, but I did not mourn it a all. (Hannele 05 69-70) Later, she elaborated: H: There is [in the photographs taken in 2004] one Aalto vase, that one. That was acquired nearly 20 years ago. These days it wouldn’t occur to me to buy an Aalto vase. HP: but you haven’t gotten rid of it, it has its use. H: noooo. It’s like a vase amongst other vases. And besides, they get dented when you wash the dishes and (pause) I don’t mourn that either. It does not matter. But if this [plate by Birger Kaipiainen] were to break, then I would be a little, like (pause) oh no, so I try to guard that, since I know that it is a bit more valuable. But that Marcel vase, I
197 198 4 S T O R I N G D E S I G N 199 200 177 201 202 203 P 197. Marcel vase. Photo: Iittala P 198. Laura’s decorated egg P 199. Ilmari’s fire blanket P 200. Lundia bookshelf. Photo: Lundia P 201. Sanna & Kalevi’s television P 202. Olavi’s faucet P 203. Sanna & Kalevi’s fluorescent lamp
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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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Page 126 and 127: D W E L L I N G W I T H D E S I G N
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DESIGN limbo
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Consequently, it started to seem th
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252 253 6 D E S I G N L I M B O 254
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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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