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D W E L L I N G W I T H D E S I G N L: then there’s the computer [iMac] which we use a lot. I guess it is also some sort of design item? (Laura 04 135-136) Similarly, no one presented clothes or shoes without my prompting them to do so, but when asked, some interviewees talked about their clothes as designed products. Anniina (P 88–90) and Mervi (P 91–93) then presented several pieces of clothing and shoes as examples of some of their favourite designs. 68 88 89 P 88–90. Anniina’s jeans, shoes and a blouse P 91–93. Mervi’s shirt, blouse and sandals 90 91 92 93
I furniture (321) II lamps (168) III decorative objects (142) IV utensils (127) V dishes (126) VI works of art and graphic design (111) VII ICT’s (108) VIII clothes, textiles, surface materials (78) IX devices other than ICT’s (73) X baby stuff (19) XI storage piles (10) Figure 5. At first I cropped products from photographs and sorted products to 11 folders. Number is the amount of files in folder. 2 D E F I N I N G D E S I G N 69 During the interviews, I photographed the products that the interviewees talked about. One of the first things that I did with the data was to sort the products in order to get a rough overview of the information. It turned out that sorting the designed products is not a simple matter. Forks, kitchen appliances and sofas are (comparatively) easy to sort, but some products hover somewhere between, for example, dishes and utensils, such as the Bialetti espresso pan that several of the interviewees owned. My initial research set-up of focusing on functional products did not make the categorisation any easier. I used quite a lot of time trying to understand what to think of products like the Sarpaneva OPA steel plate, which was used as a prominent decorative element in Hannele’s living room and for daily cooking purposes in Laura’s kitchen. Should I think about it as a decorative or functional item? Or, for example, Janne’s lamps, which mostly, according to Janne, did not give much light. One would think that a lamp is a functional item, but if it does not give light, should I then categorise it as a decoration? Since I was in serious need of some sort of organisation, after some trials I came up with a list based on the products that were visible in the photographs (Figure 5). Some products were photographed twice, once during each interview. Screenshots from the folders on lamps and ICTs illustrate how the products appear when isolated from the context (P 94–95). This categorisation served my initial sorting and handling of the photographs and product biographies, which at this point took the form of statistical spreadsheets outlining the properties of the products and their phases of appropriation. The products could have been sorted otherwise as well, but the categories used here are quite common. We know what kind of stuff belongs in the category of “dishes”, even though disagreements might arise in terms of some finer distinctions. But something was wrong. Try as I might, I could not reach any real insights about the role or meaning of design based on categoris-
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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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Page 18 and 19: D W E L L I N G W I T H D E S I G N
Page 65 and 66: 65 definiNG DESIGN
Page 67: Classifying design 2 D E F I N I N
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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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DESIGN limbo
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Consequently, it started to seem th
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256 P 256. Sanna & Kalevi’s sofa
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for now, the study chair which, esp
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259 260 6 D E S I G N L I M B O 241
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261 P 261. Sanna & Kalevi’s livin
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example. In 2004, he talked about h
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little in the interviewees’ comme
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design in the household. I have als
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Dwelling with Design offers a throu
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