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D W E L L I N G W I T H D E S I G N 244 HP: do you think, then, that if you were to buy your own flat, things would be somehow different there? M: Yes! Definitely. And that relates to. Definitely, this all relates to, I mean, temporariness relates to a rented flat and to (pause) like, quite clearly. If I had my own, of course you make it nice and it’s somehow more permanent and stuff. (Mervi 05 269-272) So, on the surface, those living on rent were not actively curating their homes because they were living on rent. But, perhaps by a coincidence, Liisa, Sakari & Elisa and also Ilmari were amid a transformation that directly reflects in how they feel about design. Liisa mentioned explicitly that her taste is not what it used to be but that she does not yet know how it has changed. Sakari & Elisa had started to diminish their collections of small mementos and Sakari was thinking about cleaning some of his storages. Ilmari had just moved back to Finland after years abroad and was slowly but actively figuring out how he would want to live. Ilmari (who, by the way, has got an excellent sense of humour) summarised the situation: I: And another thing was that, because, in recent years, I’ve ended up buying a few new pairs of shoes and more clothes, so, I don’t have a wardrobe. And then someone had recommended that I should buy a new flat when I come back to Finland, to start a new life. And they were just so expensive and I didn’t see anything nice and I thought I’m not going to buy a flat in the middle of this hassle. And instead, I went to Ikea. Like, I solved this apartment problem by buying a bookshelf and a wardrobe from Ikea. (Ilmari 05 14-20) Ikea was by far the most frequently mentioned brand in my study (in 19 out of the 30 interviews) and the general opinion was that Ikea products are cheap, easy to pick out and seldom require or encourage emotional investment. That is why Ilmari went to Ikea. When one does not know for sure, it is better to make cheap compromises than invest heavily. But even Ikea requires effort. The products do not travel on their own from the store to the apartment and they need to be assembled. This brings us back to the materiality and the physical reality of curating: just like not even the Ikea products magically appear in the apartment, the products do not vanish at will. It is surprisingly cumbersome to get rid of things. In addition to the physical heavy lifting that ridding involves, often there is a conflict of interest in the background. The products cannot be thrown to trash but not recycled either. Ilmari’s landline phone is a good
example. In 2004, he talked about how he might repair it sometime. In 2005, he still had it in the downstairs apartment and had not repaired it. His comment summarises the impossible situation he was in with the phone: I: that telephone I could give away, no problem. It’s just that, who would benefit from it. Like, throwing it away is not a nice idea. (Ilmari 05 636-637) 6 D E S I G N L I M B O Ilmari was stuck with a product that no one wanted anymore, but for him throwing it away felt worse than storing it. He did not mind storing the telephone because he had the whole downstairs apartment to use as a storage, so it did not clash with the upstairs gallery. Later, I heard that Ilmari had moved in with someone, but I do not know what happened to the telephone. I wish I would have asked. 245
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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
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Other examples are a vintage dress,
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190 191 4 S T O R I N G D E S I G N
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the right spot, once the right spot
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197 198 4 S T O R I N G D E S I G N
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204 P 204. Janne’s sofa 4 S T O R
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205 262 4 S T O R I N G D E S I G N
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H: it’s some sort of aesthetic (p
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to call the latter designs “dista
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4 S T O R I N G D E S I G N 187
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Dwelling with Design offers a throu
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