Lataa ilmaiseksi

More documents

Recommendations

Info

D W E L L I N G W I T H D E S I G N 80 Design brands made it possible for the interviewees to communicate with a code language that reduced the complex networks of judgements to a single handy tag. Names such as Stockmann, Artek, Ikea, Indiska, Bang&Olufsen and Muurame are frequently used as tags or codes. Yet there is little coherency about what the names and brands represent. For instance, it was clear that most of designers and some of the non-designers openly despise Ikea, whereas the rest either did not mention the brand or, like Rea, thought that it was just as good as any other design company. On the other hand, while Janne, Laura and Rea appreciate classic Finnish design (Artek and Tapio Wirkkala for example), Asta openly and emphatically hates it and Hannele finds it a bit annoying because she no longer likes the classic Finnish modernist design that she owns and used to appreciate. But even though both everyday language and branding offer an ample pool of vocabulary for talking about design, it nevertheless is not always an easy topic to discuss. One thing is that dwelling with design is deeply integrated with everyday life, and, as such, it is a topic that the interviewees had not necessarily thought about, so it was difficult for them to easily describe how they were dwelling with design. One might say that I often caught people unawares. Mervi, an interior designer, summarises this well: M: After you’d visited the first time, I thought about my stuff, that’s to say that I haven’t thought about them much, thought about what they’re for. It’s like with clothes, shoes, bags, you think about those, but not the things in your home, like, wondering why they are here. Or why have I been looking at this thing and why, in the first place, did I acquire it for this place and this spot. (Mervi 05 437-440) Even so, some households in the sample ( Janne and Rea, for example) were keenly interested in the designed products that they had in their home and were quite prepared to talk about them. In general, all of the interviewees, sometimes after a bit of prompting, were both interested and willing to talk about their designed products. On the other hand, when asked to think about and describe domestic design, the very enterprise of dwelling with design often appeared to the interviewee as contradictory and lacking a clear rationale by which it would be easy to justify a product’s presence. Theo’s discussion of his interior decoration is an example of this.
T: This really doesn’t have any particular style, and it isn’t tasteful (pause) and there especially we haven’t been looking for anything particularly (pause) particularly, except that it has to be old. (Theo 05 542-544) Theo’s statement about his household not having any style and not representing any particular taste is curious since his household is one of the most stylistically consistent households in the data (P 97). For Theo, there are two kinds of taste: one that mimics others and another that represents a “strong independent taste”: 2 D E F I N I N G D E S I G N T: People look for model solutions in [decoration magazines], they don’t necessarily have strong, independent taste; it is more as if they are looking for an easy solution. Like, someone thinks, “that works, so it’ll probably work for us, too.” (Theo 05 535-537) 81 Theo explains that he does not make his interior decoration choices by copying them from interior magazines, which, in Theo’s point of view, consistently promote modernism and a minimalist style that he does not want to follow. However, he also pointed out that his choices in interior decoration should not be taken as a form of rebellion: 97 P 97. Theo’s downstairs living room
Page 1 and 2:
Heidi Paavilainen Dwelling with des
Page 3 and 4:
Aalto University publication series
Page 5 and 6:
3 DESIGN ENTERS HOME 88 Introductio
Page 7 and 8:
Acknowledgements A C K N O W L E D
Page 9:
9A C K N O W L E D G E M E N T S
Page 12 and 13:
D W E L L I N G W I T H D E S I G N
Page 14 and 15:
Page 16 and 17:
Page 18 and 19:
Page 20 and 21:
Page 22 and 23:
Page 24 and 25:
Page 26 and 27:
Page 28 and 29:
Page 30 and 31: 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 and 70: I furniture (321) II lamps (168) II
Page 71 and 72: to study how the interviewees talke
Page 73 and 74: the list does, it reflects how the
Page 75 and 76: was limited to fun, nice and very h
Page 77 and 78: During the interviews, 16 household
Page 79: M: But it was almost darker than th
Page 83 and 84: Summary 2 D E F I N I N G D E S I G
Page 85: paradox is also evident in my data.
Page 130 and 131:
Page 132 and 133:
Page 134 and 135:
Page 136 and 137:
Page 138 and 139:
Page 140 and 141:
Page 142 and 143:
Page 144 and 145:
Page 146 and 147:
Page 148 and 149:
Page 150 and 151:
Page 153 and 154:
STORING DESIGN
Page 155 and 156:
165 P 165. Anniina’s shelf 4 S T
Page 157 and 158:
A bit later Janne outlined what had
Page 159 and 160:
to, show off to. As against actual
Page 161 and 162:
168 169 4 S T O R I N G D E S I G N
Page 163 and 164:
colours and sizes. And this is simp
Page 165 and 166:
sizes; there are 2-seaters, comfort
Page 167 and 168:
T: this has been protected like not
Page 169 and 170:
least fondly talked about. The prod
Page 171 and 172:
Other examples are a vintage dress,
Page 173 and 174:
190 191 4 S T O R I N G D E S I G N
Page 175 and 176:
the right spot, once the right spot
Page 177 and 178:
197 198 4 S T O R I N G D E S I G N
Page 179 and 180:
204 P 204. Janne’s sofa 4 S T O R
Page 181 and 182:
205 262 4 S T O R I N G D E S I G N
Page 183 and 184:
H: it’s some sort of aesthetic (p
Page 185 and 186:
to call the latter designs “dista
Page 187:
4 S T O R I N G D E S I G N 187
Page 190 and 191:
Page 192 and 193:
Page 194 and 195:
Page 196 and 197:
Page 198 and 199:
Page 200 and 201:
Page 202 and 203:
Page 204 and 205:
Page 206 and 207:
Page 208 and 209:
Page 210 and 211:
Page 212 and 213:
Page 214 and 215:
Page 216 and 217:
Page 218 and 219:
Page 220 and 221:
Page 222 and 223:
Page 224 and 225:
Page 226 and 227:
Page 228 and 229:
Page 231 and 232:
DESIGN limbo
Page 233 and 234:
Consequently, it started to seem th
Page 235 and 236:
252 253 6 D E S I G N L I M B O 254
Page 237 and 238:
256 P 256. Sanna & Kalevi’s sofa
Page 239 and 240:
for now, the study chair which, esp
Page 241 and 242:
259 260 6 D E S I G N L I M B O 241
Page 243 and 244:
261 P 261. Sanna & Kalevi’s livin
Page 245 and 246:
example. In 2004, he talked about h
Page 247 and 248:
little in the interviewees’ comme
Page 249:
design in the household. I have als
Page 252 and 253:
Page 254 and 255:
Page 256 and 257:
Page 258 and 259:
Page 260 and 261:
Page 262 and 263:
Page 264 and 265:
Page 266 and 267:
Page 268 and 269:
Page 270 and 271:
Page 272 and 273:
Page 274 and 275:
Page 276 and 277:
Page 278 and 279:
Page 280 and 281:
Page 282 and 283:
Page 284 and 285:
Page 286 and 287:
Page 288 and 289:
Page 290 and 291:
Page 292 and 293:
Page 294 and 295:
Page 296 and 297:
Page 298 and 299:
Page 300 and 301:
Page 302:
Dwelling with Design offers a throu
show all

Lataa ilmaiseksi

Create successful ePaper yourself

Delete template?

Save as template?