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D W E L L I N G W I T H D E S I G N P 229. Liisa’s doll 229 206 museum curator who is very selective when acquiring things on his or her own. Both had spent lots of time trying to make a purchase without finding what they wanted. However, both accepted and kept nearly everything that someone else brought to them. For Ilmari, the reason was perhaps a simple need to connect with people and also just plain indifference. For Liisa, who talked about a plastic Xena doll (P 229), the issue had more to do with someone’s financial investment in the doll and the general effort of sending the product to her: L: for example that Xena doll is necessary but I can’t throw it away either HP: necessary? L: It’s not necessary. It’s an ornament, maybe. I found a place for it where it’s not in the way. But I have other dolls from the same series which have no use. Things that you don’t want to have on display but you do not to throw them away either, they are annoying. Why can’t you throw them away? Somebody paid for them. Not me, but somebody has, even sent them to me all the way from America. (Liisa 04 341- 347) In comparison to Liisa and Ilmari, the other extreme is a highly autonomous curator who does not accept or keep anything that he or she has not selected him- or herself. Anniina, Theo and Tiina are examples of this kind of museum curating. Here is Tiina talking about gifts: T: [my partner] for example gets an awful lot of bowls, cups, vases and so on as gifts, because of his work, and from all kinds of trustee positions. Sure, there is some cool stuff which perhaps is still a bit look-
ing for its place, but there is, like, yup there is plenty that will find a place here. HP: will the rest then stay in storage or will you throw them away? T: I won’t throw them away. They’ll go somewhere, somewhere like the flea market (laughs). Of course one always needs to check that they have not been marked or signed, that they aren’t unique pieces. In that case, one just has to store them somewhere and then take them to the summer house or somewhere. Or, sometimes even, if it’s something sensible but just won’t fit in here, then totally cool-headed, I pass it on. But I don’t pass on anything awful. It has to be something that’s our kind of thing. Or, rather, like the recipient’s kind of thing. (Tiina 05 215-225) 5 U S I N G D E S I G N 207 Gifts, when they first enter the home, are difficult to accommodate and many of the interviewees said that they were most pleased with those kinds of gifts that could be consumed. Theo and Sakari were most explicit in having both built the reputation that no one should bring them stuff, but their tactics were still different. Theo’s reputation was for being selective, while Sakari’s was that he already had it all: T: my friends don’t buy anything, for either of us, because they know that it is awfully difficult to buy us anything. (Theo 04 209-210) S: it’s because I at least have always collected stuff (laughs), like, voluntarily, maybe taken things that, if it’s possible, that in a sense I have particularly wanted, taken them before anyone else has thought to give them away (laughs). So there’s already a store of stuff that’s waiting to be taken back into use, and maybe everybody has known that I’m the type who hops around in rubbish skips collecting stuff. (Sakari & Elisa 05 400-408) One might assume, perhaps, that those households that had the strongest visions of how the apartment should look and what products there should be in the apartment, and who had also put considerable effort into realising that vision, would be least likely to run any kind of museum in their home. Many of the households in my sample fall into this category, but still run some kind of museum and store things that they themselves believe to have little value. Olavi and Hannele are examples of this kind of museum practice. Indeed, I am suggesting that there is a museum practice going on based on the displeasure
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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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STORING DESIGN
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Page 157 and 158: A bit later Janne outlined what had
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Page 165 and 166: sizes; there are 2-seaters, comfort
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Page 169 and 170: least fondly talked about. The prod
Page 171 and 172: Other examples are a vintage dress,
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Page 179 and 180: 204 P 204. Janne’s sofa 4 S T O R
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Dwelling with Design offers a throu
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