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D W E L L I N G W I T H D E S I G N chipboard in any case. So I called them, and in fact it was surprisingly just like I’d wanted, both good service and a human attitude, so that you know that you’re talking with the guy who’s responsible for all this. And that guy’s been here a couple of times and we have mulled over, since in any case they make them individually, the cupboards, and let’s measure up and make them based on that, then. ( Janne 04 328-337) Janne also talked about how he took great care in finding the appropriate screws for his relative’s window frames: 220 J: my grandmother moved to a new flat and they were renovating and all the window frames were changed. And I thought that I’m not going to stand around watching this, I was put in charge of overseeing that renovation, and I’m not going to have any Phillips screws sticking out and showing. And then I wanted to try to find some of those old, chrome-plated, one-slot screws. And they didn’t have them at the ironmongers, so I went to the recycling centre to try my luck there. ( Janne 04 406-411) And described how he had hunted down the lamp that would suit their bathroom: J: in its time that was in Orno’s catalogue, that lamp. And it was just one that you needed to hunt around for over hill and dale. And then it needed its own separate switch, you needed to go to the factory, to say, listen here, this is the switch I want, and they did it, at no extra charge. ( Janne 04 434-438) As involved and interested as Janne seemed to be, he is not exceptional in the sample. Theo, Kalle & Emma, Asta, Rea, Hannele, Sakari & Elisa, Sanna & Kalevi and Mervi all talked about how they had repaired chairs, lamps, stereos, tables and cupboards; Anniina, Kalle & Emma, Laura, Olavi and Hannele told about how they had hired others to do the repairs. And while no one else besides Janne mentioned collecting and documenting architecture, nearly half of the interviewees (Laura, Olavi, Asta, Tiina, Mervi, Hannele and Rea) kept reading interior design magazines and browsing design markets, especially those abroad. The whole apartment can be seen as a gallery in the sense that nothing in it is irritating or distracting. In practice, though, such a situation must be quite
are since all interviewees commented at one point or another on how something could be different, more according to their taste. When looking closer, the offending piece in the gallery is often something that can, in turn, be justified by the home’s hotel or museum practices and the piece may be splendid in its appropriate role. No wonder, then, that curating a home is often challenging, since the same item can look different depending on which of the frames of mind one is evoking – that of a gallery worker, museum director or head of a hotel. Some households are very good at keeping all three practices going on at the same time, without it causing too much friction. Hannele is a very good example of this kind of impressive dwelling management. But even in Hannele’s household, it seems that some of the hotel practices (the drying of laundry) were forgotten to an extent when they renovated their kitchen. 5 U S I N G D E S I G N 221 James Bonds and Citizen Kanes During the interviews, I asked about change and the general product traffic in the household. Curating a hotel is probably responsible for most of the traffic in the household, since on a more or less daily basis some of the facilitating products need to be processed and renewed. On the other hand, the museum practices appear to involve much less change. In this respect, curating a gallery seems to be exceptional because the households differed based on the role of change in the curating process. Some households were changing the products, even frequently, but the goal in changing them was to reach such a state that nothing would need to be changed in the gallery anymore. These households are like the creators of the film Citizen Kane, working towards a timeless masterpiece, one which would probably continue to please them even after decades of dwelling. But then, there are those households that embrace change for the sake of change. Much like the recurring James Bond films, there is always something new and exciting in the renewed gallery, while it hardly ever is something completely novel. It probably is safe to assume that to the James Bond-type gallery workers, the fun is in the making, even though the result is entertaining, too. Hannele is again a good example of someone who made frequent changes; she made seasonal changes and had had different kinds of decoration style “booms”, such as her French rustic and British decoration phases. Asta also talked about how she likes to tune products so that their appearance will fit the rest of the constantly changing home. Rea, Theo and Hannele mentioned how their pieces of furniture are always moving around, either because the thing has not yet found its place or, in contrast, because the thing is really flexible and fits
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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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165 P 165. Anniina’s shelf 4 S T
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A bit later Janne outlined what had
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to, show off to. As against actual
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168 169 4 S T O R I N G D E S I G N
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colours and sizes. And this is simp
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sizes; there are 2-seaters, comfort
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T: this has been protected like not
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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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