Object
<Serip> in Salone del Mobile Milano, Ki-young Kim <The Housemaid>
Maison&Object Paris
<Serip> © Seripdesign
All desires were stirred there. In the vibrant atmosphere of the Milan Design Fair, an enchanting world pulsating with the aspirations of modern people unfolded before me. Inside the booth of the lighting brand Serip, chandeliers took on the shapes of birds, tree branches and flowers, transforming the space into an exhibition. Elegantly dressed designers and representatives mingled with customers, sipping champagne while a harpist serenaded them. As I looked at these creations, I realized that design is not simply a response to societal needs; rather, it actively shapes identity and culture and inspires desire. While my earlier thoughts suggested that designs emerge from societal needs, here it seemed that the products themselves dictate the identity of their environment. The chandelier shapes its surroundings.
Ki-yong Kim, The Housemaid, South Korea, Kuk
Dong Seki Trading Co., 1960
©
Kuk
Dong Seki Trading Co.
In the film The Housemaid, the everyday objects showed that this was not just the use of props to advance the plot; rather, the use of the objects themselves told stories in reverse. The protagonist, a piano teacher, supplements his income by giving lessons to female laborer and private lessons at home. The role of the piano teacher is characterized by delicacy and hesitation. In the bedroom scene, the distant melody of the maid playing the piano on the second floor subtly announces her presence and creates tension. This auditory aspect of the piano shows the intrusion of danger into the domestic atmosphere. The movie also shows the housewife in the traditional way, doing household chores next to a sewing machine. Situations unfold around the instant coffee, curry rice, and grand staircase of the protagonist's mansion, all of which create the narrative and collectively form themes of hidden desire and sexuality. Set in 1960s South Korea during the authoritarian rule of Park Chung-hee, the film exposes the repressed desires of individuals in a society marked by social controls on appearance and customs, juxtaposed with the influx of foreign cultural influences among the wealthy class. Everyday objects actively serve as integral parts of the narrative framework, spanning the genres of crime, love, and horror within the film's tapestry.
The Great Exhibition of 1851 in Hyde Park
©History Extra
The Great Exhibition of 1851, held at the iconic Crystal Palace in England, symbolized the fusion of culture and industry on a grand scale. As a stage for nations to showcase their achievements, it also served as a demonstration of supremacy. Works of art and raw materials were prominently displayed, while technological marvels and innovative machinery captured the public's attention. Through the display of everyday objects and technologies, these artifacts transcended their utilitarian functions and assumed roles as conduits for storytelling and the shaping of customs. By exhibiting objects and presenting ourselves to the world, individuals evoke desires, construct identities, and even inspire narratives. Objects actively shape and contribute to the creation of stories through their use and mere existence.