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D W E L L I N G W I T H D E S I G N 248 249 250 222 251 P 248–249. Hannele’s trolley in 2004 and 2005 P 250–251. Janne’s lamp in 2004 and 2005 in with nearly everything. Hannele’s sofa and serving trolley are examples of this kind of flexible design (P 248–249). HP: well shall we start with this trolley? For example did you get it yourselves or did you inherit it? H: yes (pause) yes. We got that ourselves, yes, but there’s nothing particularly exciting about it. It’s constantly changing its place. Somehow it always finds a place. It is (pause) it has these wheels and (pause) it’s been in our home yes (pause) when did we marry, -76, it must have been at the end of the 1970s that we acquired it. At that time one thought that, yes, Artek is terribly progressive and modern and whatnot. Nowadays one does not think quite that way about Artek’s or Aalto furniture. (Hannele 04 192-199) Janne’s household was moving around their collection of vintage lamps when I visited, but Janne explained their movement by giving practical reasons rather
than saying that they were intentionally furnishing the apartment. For example, they made a pop-up kitchen out of the fireplace room during the renovation of the kitchen proper, which meant clearing fragile designs out of the way and, for instance, moving the Wirkkala lamp to Janne’s study (P 250–251). That Janne’s household was not systematically changing the decoration, in the sense of seasonal furnishing for example, is a mild version of a surprisingly common antipathy towards change. Kalle & Emma’s comment to this effect is illustrative: 5 U S I N G D E S I G N E: I think it’s somehow amazing how people, like there often are interior decoration magazines, like they say decorate your home to go with the season like get new stuff in the Spring; I think it’s somehow pointless. I don’t understand it at all. On the other hand, what does make sense is that if you bring the old things back, like, create change, but if it’s really like four times a year you buy new stuff to replace the old stuff, that doesn’t make any sense. (Kalle & Emma 04 776-780) 223 Emma grounded her aversion to (complete) change in her sense of environmental responsibility. In a somewhat similar vein, Olavi said that he is willing to invest both time and money in getting products that will last, which he would not need to replace for a long time. O: it is not the object, they are just objects after all, you’ll get more of them from the store, but to not acquire them any more, that takes effort. (Olavi 04 48-50) For Olavi, this means acquiring both functionally and aesthetically lasting products, which in turn means the careful curating of, for example, materials. His approach towards interior decoration resembles that of Tiina and Anniina, who talked about finished interior decoration as being final, or so good that there is no need to change it again. Tiina mentioned how her three previous apartments, especially the kitchens, had been more or less similar and how some of her furniture was several decades old. There was no point to acquiring new pieces of furniture when the current furniture was great. Finally, Hannele, even though she likes to change the interior decoration, proceeds in her furnishing projects in order to get them “off your mind”. Anniina, Olavi, Hannele and Tiina were in their own ways putting together interior decorations with the idea that it would be possible for them to relax because they would no longer need to think about interior decoration once 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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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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least fondly talked about. The prod
Page 171 and 172: Other examples are a vintage dress,
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Dwelling with Design offers a throu
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