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D W E L L I N G W I T H D E S I G N 94 70 95 P 94–95. Cropped photographs showing lamps and ICTs ing the photographs or the statistics. My lists merely showed that people have furniture, devices and dishes; but, at least on the surface of things, they did not provide much rhyme or reason about what design has got to do with a particular product’s career in the household. Apparently, this was not enough to understand what was going on, so I turned to the interviews and started
to study how the interviewees talked about their products. The results of this reading are presented as a list of the most prominent categories that the interviewees used when talking about their products (Figure 6). Here is how Anniina talked about “an experimental object” (P 96): A: It [the kitchen bench/draining board/stove combo] has been designed for this apartment and it’s quite experimental. But I really had to persuade my boyfriend (laughs) to make him accept the mirror there or anything else like it. (Anniina 04 56-58) 2 D E F I N I N G D E S I G N I II III IV V VI VII VIII IX X XI experimental objects objects that require special treatment wonderful objects mistakes extra objects placeholders objects that wait objects that are looking for their places absent objects future objects objects that are easy to dispose Figure 6. Object categories based on interviews. One is reminded of the list of animals by Jorge Luis Borges, which includes for example “Those that are trained”, “Those that tremble as if they were mad” and “Innumerable ones.” 71 XII objects that are in everyday use XIII seasonal objects XIV objects that are common XV useful objects 96 P 96. Mirror covered kitchen combination
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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 20 and 21: 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 and 68: Classifying design 2 D E F I N I N
Page 69: I furniture (321) II lamps (168) II
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Page 83 and 84: Summary 2 D E F I N I N G D E S I G
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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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252 253 6 D E S I G N L I M B O 254
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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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