Lataa ilmaiseksi

D W E L L I N G W I T H D E S I G N
212
S: it’s not only a question about whether physical, I mean, physically the
space can be something that a human can move around in easily and
such, do the stuff you do at home, but still it can give you a bad feeling.
And it’s not necessarily because of the things themselves. Instead,
it may be because the things are in the wrong places, for instance.
Something at the level of energy, in its field, causes a rupture (laughs).
Maybe. (pause) So I probably couldn’t take for example, actually, I
couldn’t a single Ikea product, because I think, even though as such
it might be well designed, it would somehow cause a rupture in this
(laughs).
HP: has anyone tried to bring you stuff or things that you have not wanted?
S: hm. We have actually successfully refused all that. And announced it
well in advance (pause) then again, no-one has tried to foist anything
on us either, but we have put out the message early enough that we
don’t want this or that kind of thing and we won’t agree to take stuff,
and so forth. (Sakari & Elisa 05 374-387)
Some apartments result in clearly discernible aesthetic coherence, others not so,
but all of the above-mentioned interviewees can be seen as engaging in certain
gallery-like practices, for which design is integral. .
Gallery in display
Sometimes the “gallery” metaphor is particularly apt because people put
together compilations that are even in everyday speech called “still lifes”. In our
sample, Rea’s and Hannele’s households provide examples of this kind of way
of making design personally rewarding (P 230–233).
These examples of domestic installations are aesthetically coherent and
follow the contemporary canon of what can be put together to form a distinguishable
set of designs. Equally common are the kinds of distinguishable
sets of designs exemplified in Theo’s and Kalle & Emma’s households
(P 234–235).
Instead of still lifes, the interviewees referred to these kinds of set-ups as
“piles”. Hannele made the distinction between furnishing and mere storing
when she was looking through the 2004 photographs: