Utgångspunkten för mitt arbete är ett hållbart samhälle, utvecklingen i glasriket och min egen roll som nyexaminerad designer. Inom området för glas, där jag vill fortsätta mitt arbete, möts jag av en rådande kris. Att orientera mig för glasets nya villkor har därför varit en viktig komponent. I mitt arbete resonerar jag kring det samtida glasriket för att även belysa frågan om framtiden. Mitt slutliga verk är en parafras på Ai Weiweis ”Dropping a Han Dynasty Urn” och skildrar händelseförloppet då ett ikoniskt glasföremål släpps i marken och krossas. Platsen för händelsen är handelsområdet i Kosta, mitt i glasriket. Kopplat till verket hör en diskussion om då och nu och sedan, i förhållande till begreppen värde och värderingar, kopia och original, design och konsthantverk, både inom och utom området för glas.

I det här projektet har jag som mål att bryta ner och visualisera ämnet konsumtionssamhälle med hjälp utav motion design. Mitt syfte är att skapa förståelse, diskussion och väcka tankar kring ett samhälle som ofta tas för givet. Genom research letar jag efter starka koncept att visualisera, jag bryter ner ämnet i tre kategorier (varför, effekter, lösningar). Resultatet är ett antal animationer som ska kunna ses individuellt eller som en helhet. Jag redovisar min process och återkopplar till projektet. 

This is a personal project about a fed-up woman who sits down on the chair by the pottery wheel simply because she craves it. It is about conducting a non-result oriented design process. A process where the making, the closeness between the mind and hand, is both the research and mediation. It is a project that acknowledges the potential care has in relation to design, while it's dealing with the controversial aspects of a woman caring for herself. The project is a snap, a feminist snap, represented and materialized through the objects of clay. Where a collapsed bowl, a blob, becomes a materialized revolt against everything women are being told to endure. It is a project that brings design and poetry together. Aiming to explore how objects can gain agency and be in dialogue with society. How objects can materialize both the resistance against, and the result of, the patriarchal structure.

Projektet Elda är ett undersökande arbete om det digitala verktyget och vilka kvalitets- aspekt det påverkar. Datorn som ett kreativt hjälpmedel inom formgivning är i dag ett självklart verktyg i designprocessen, men vad händer egentligen med designers personliga avtryck när formen blir digital? Undersökningsmetoden i detta subjektiva projekt är em- pirisk och består av designprocessen bakom typsnittet Elda, under hela projektets gång reflekterar jag tankar, form och litteratur mot varandra. Diskussionen består av min syn på den digitala grafiska produkten, yrkets egenvärde och mänsklig kommunikation. 

This study is about the recruitment process. It started with a big picture of Work-life and narrowed down at the beginning of the career when candidates are applying for a job. There are different problems in the recruitment process. It is a stressful and uncertain experience for candidates. Also, the organizations will take damage by selecting an inadequate candidate. And, the recruiters have a hard time making a decent decision. This study investigates how to improve the experience of the stakeholders of candidates, organizations, and recruiters.

The model of the design innovation process is the methodology of the project. The result is a candidate workshop framework that is a tool to get a deeper understanding of candidates. Designing a workshop can help to select an adequate person when there are the last few candidates. This workshop is complementary to a job interview, which can be before or after the job interview. It can be a physical or remote workshop. The workshop is about testing the abilities and soft skills that are not easy to measure by a traditional job interview. As a result, this solution can create an opportunity to gain better experience as teams and organizations meet people who are going to work with, and candidates get better feedback.

My project is about changing the attitudes towards secondhand clothes in the suburbs of Kalmar with repurposing fashion. Secondhand clothes have a bad reputation in the suburbs and in my project, I am seeking where the prejudice coming from, what is acceptable, etc. in hopes to create something that is acceptable and something that grabs the interest of the people from the suburbs of Kalmar. I'm trying to spread the good things about secondhand and teaching people in the suburbs how to repurpose their own clothes in my workshop called “Repurposed+”.Hopefully, this will also connect people and create an interest/hobby for them which will benefit their futures. 

This study researches the relationship between institutional racism and systemic supervision, highlighting the concept of the Other and how it is created as result of social racism.

The project’s goal is to produce a dystopian live-action short film. To expose the danger of misusing technological advances to achieve propaganda set to ensure control over the public. And to closely look into the mentalities and perspectives of the public considering institutional racism.  

This project represents the powerful impact of society's issues on the future by filming in the dystopian genre. The project goes through all aspects of scene making and filmmaking as a visual communication technique.  

The research shows how deeply the established media is connected to social racism and Othering. As governments, institutions, and corporations are constantly in need to create targets for the viewer/public to fear, making the world seem like it is Us vs Them. Ending with a loop of hate and injustice that keeps spiralling downwards. 

In this thesis you can read about an alternative for the interior architecture of a Tiny house on wheels.

It also explores tiny living as a possibility for some of us and looks at what a small accommodation can make for our environment, our economy and our behaviours.

In my project, I have created the interior architecture of a tiny house for two people on wheels. The house is 14m²+ 4m²in the loft and it is designed for year-round-living. A tiny house is a home with a small environmental footprint that doesn’t take up more space than it really needs. In such a small home residents must evaluate and prioritize what is truly important to them. Nothing else will fit. Next time you move, move your entire home.

Projektet Gelifoam bygger på en utforskande process. Författarna undersöker och dekonstruerar ämnet lösgodis för att ta reda på vad det egentligen är. Genom en rad experiment har lösgodis tagits isär och sats i en ny kontext. Arbetet resulterar i ett nedbrytbart material där trä och godis möts.

Med detta projekt titta närmare på hur man kan skapa en belysningsarmatur som skapar ett harmoniskt ljus till offentlig miljö inomhus, med en intressant design på armaturen. En belysningsarmatur som ger en ljusbild av ambient ljus för de som besöker lokalen. Resultatet ska vara en golvlampa för det offentliga rummet som ger ett diffust ljus som komplettera det allmänljuset man redan har i rummet. En golvlampa som gör det möjligt att flytta ljusbelysningen dit i rummet där man behöver den.

Målet med detta projekt har varit att underlätta växlingen mellan arbete och vila för de som bor litet och arbetar i hemmet. Bakgrunden till detta är att vi idag har en stark bostadsbrist i Sverige och att det kommer behöva byggas fler små lägenheter. Produkter som är anpassade för mindre boyta kommer därför behöva tillverkas.

Research har varit en stor del i projektet och innefattar användarundersökningar, compact living, bordets historia och hållbar produktion.

Slutresultatet har blivit ett bord som passar till både arbete och återhämtning med möjlighet till miljöombyte och förvaring. Bordet består utav två bordskivor som användaren kan nyttja. Grundtanken är att användaren ska ha möjlighet att förvara sitt arbete utan att behöva plocka undan någonting och då fritt kunna använda den övre bordsskivan.

Min förhoppning är att bordet får en lång livslängd och fungerar för olika livssituationer samt att användaren knyter an till produkten. Detta utifrån en hållbarhetsaspekt och som motreaktion mot konsumtionens slit-och-släng beteende.

This master’s thesis is a testament to our unwavering commitment to the user. It explores integrating AI-driven generative design and human-centric principles in developing prosthetic arm sockets. The project uses advanced software to create and improve design outputs through iterative adjustments to cater to the diverse needs of individuals with traumatic limb loss. By combining digital fabrication techniques and a user-centered approach, the thesis aspires to create functional, personalized, and sustainable prosthetic solutions that truly enhance the lives of our users.

The project draws upon interdisciplinary insights and methodologies, seeking to push the boundaries of traditional prosthetic design paradigms. The research addresses critical questions about the role of artificial intelligence in enhancing prosthetic functionality while ensuring that the human experience remains paramount. The project aligns with contemporary discourses on sustainable inclusion, emphasizing environmental impact and long-term user satisfaction.

Through a design-driven process encompassing iterative prototyping and user-centered evaluation, the thesis aims to produce tangible outcomes that advance the field of industrial design. The ultimate goal is to promote greater inclusivity, dignity, and autonomy for prosthetic users, acknowledging the complexities involved in designing for the human body and mind. Key findings from the data analysis highlight two significant design opportunities: enhanced customization and lightweight materials. These factors contribute to developing a new design process incorporating sustainable and biocompatible materials, improving prosthetic device quality and user experience without compromising medical standards.

The design process follows a structured approach, utilizing AI-powered tools such as Leonardo.AI, Krea.AI, and Vizcom to facilitate innovative concept generation and evaluation. The AI-powered Double Diamond model provides a systematic framework for exploring and refining multiple design concepts, ensuring a balance between functionality and user comfort. Ethical considerations are not just a part of our process; they are our guiding principles. Particularly regarding privacy and data security in the integration of machine learning algorithms, we adhere to stringent ethical standards. The thesis ensures the protectionof users’ personal information and compliance with data protection regulations, providingyou with confidence and trust in our research and its ethical conduct. Adopting a culturally sensitive approach, the project acknowledges the diverse perspectives and values shaping prosthetic design and use. It aims to empower users to express their identities and challenge disability stereotypes, ultimately contributing to a more equitable and compassionate society.

In conclusion, this thesis paves the way for future research and development, offering a beacon of hope for individuals with limb loss and fostering positive change in the field of industrial design, thereby transforming the landscape of prosthetic solutions.

This project puts the focus on promoting the importance of bringing attention to mental health in developing countries. It aims to connect people with mental disorders with the help needed to improve their wellbeing. Through the methodology of design thinking and theories of wellbeing and inclusive design, a design proposal is developed.

With the situation of COVID-19, people’s wellbeing has become an important issue that needs to be addressed. Apart from physical health, mental health also plays a big role in bridging people into their optimum state of wellbeing. However, the decreasing number of available mental health services has made it difficult for the people to get the help needed, especially in developing countries such as Indonesia, where it had already been limited prior to the pandemic. The primary reason being how mental health is stigmatised, which hinders people from getting the help they need to improve wellbeing.

The proposed service design, Discover the Stigma, shows a tool developed alongside stakeholders that enables people in Indonesia to get connected with the help needed and to understand, maintain, and/or improve their wellbeing. It is intended that the tool would provide comfort for people who feel stigmatised within the society and for society to understand them better. 

Bakom Rubrikerna (Behind the headlines) is a project that uses visual communication and the idea of negative space to critique Swedish media, politicians, and the discourse regarding refugees with different backgrounds (cultural, geographical, socioeconomical, religious, political) and ethnicities. It explores the concept of selective sympathy and what role media, especially newsprints, have in recreating harmful narratives around certain refugees. The project aims to give the reader a deeper understanding of the harmful Eurocentric and xenophobic views that influence refugee politics and media’s coverage of the two different refugee (human) crises, in 2015 and today, in 2022. 

Som konstnär och lektor i design vid Linnéuniversitetet är jag initiativtagare till konstprojektet Blända Power Play. I Blända Power utforskade jag, 8 konst-och designstudenter samt en konstpedagog/kurator Växjös ishockeyarena utifrån perspektivet makt och jämställdhet. Vår gemensamma kartläggning ledde till en iscensättning där allmänheten bjöds in att inta arenan den 17 december 2016, efter de nya förutsättningarna gruppen skapat. De runt 200 personer som besökte arenan fick ta på sig röda strumpor och ge sig ut på isen för att interagera med andra besökare och en installation av ljud, ljus och föremål. Metodiken i projektet har haft som ambition att sudda ut och kasta om ursprungliga roller för att bilda en mer jämställd situation. Processen har haft en framskjuten roll och allas kompetens och olika erfarenhethar varit viktig. Situationen skiljer sig på flera plan från den man befinner sig i som undervisande lärare på ett universitet. På universitetet är man hänvisad till olika incitament så som kursplaner och betygsättning vilket i sig skapar en struktur som styr process och resultat. Projektet har i sin form genererat många frågeställningar och intressanta aspekter som diskuteras och härleds till tendensen; The educational turn. Blända Power Play är också en del av ett större projekt som haft ett tydligt fokus på hur olika konstnärliga processer kan påverka och förändra frågor kring jämställdhet nu och framöver.

Sweden's fauna and flora are constantly changing. Humans have not only deliberately promoted and introduced new species in horticulture, agriculture and forestry, they have also acted as a vector for the introduction of alien species through, for example, transportation and food. When these species spread rapidly and affect biodiversity, they are deemed ‘invasive alien species’. This artistic research project explores and articulates how humans, as part of a system where nature and culture meet, affect complex functioning ecosystems through the movement of species. The starting point is the iconic elm tree and how its cultural and natural ecosystems have been wiped out in large parts of Europe by the invasive fungus Ophistoma novo ulmi. With the extinction of the elmcome ecological and cultural losses. Those losses are examined and interpreted in this work, in a dialogue with nature and with people. At the same time, another species is explored, the Canadian goldenrod, which, unlike the elm, is expanding rapidly. With these explorations, life stories about the elm will be created not only for our collective memory, but also for speculation about what happens when a new and invasive alien species, such as the Canadian goldenrod, spreads. The form of my narrative is based in materials, crafts and objects. It is primarily the objects and the process that are the carriers of the stories. As a ceramicist, I use clay as a sketching material, binder and a tool for documentation. These species, the elm and the goldenrod, constitute the materiality that are part of the exploration and creation.

Our project “Waste stories” explores our attitudes, understanding and behaviour towards waste in the setting of the contemporary design field. It is part of a larger exploration into the value of making and practical knowledge, in which we as a group of design educators and practitioners, realised that both cannot be separated. Any form of making has to relate to its waste and define an appropriate approach to it. From our experience of working with students and in our own collaboration, we learned that making, practical knowledge and time are three main components that together work as an engine for discussions about waste. In our most recent collaboration “Waste camp”, we dived into the world of industrial waste and explored how the concept of waste changes when it is lifted into a practical craft context. Originally we had only aimed to explore the importance of practical knowledge in a design education that addresses change and sustainable futures, but realized quickly that our attitudes and behaviour towards waste play an important role. The project therefore developed to embrace the following research question: How can practical, artisanal exploration change or extend the understanding and care of waste as a resource? A question we would like to make part of and explore during the workshop we are proposing for the conference. 

The initiative at the Burj El Barajneh camp is run by a network of local associations, and aims at improving living conditions, services, infrastructure and livelihoods for the inhabitants. Burj el Barajneh has a large number of active associations and many highly educated professionals. However, in this kind of complex hyperdense context any kind of change needs to be carefully considered, there are no simple recipes, and existing professional expertise does not necessarily match the specific conditions of the locality. By working with collective design and collaboration between the camp's inhabitants, it becomes possible to envisage larger coordinated efforts, and to solve issues that remain blocked at an individual level.

Throughout history and in today’s society, typography has been and still is without doubt a great part of communication. Behrens, an important designer from the modernist movement, believed that after architecture, typography provided “…the most characteristic picture of a period” and “…development of people”. Typography carries meaning and associations, built on the contexts and the design it is used in, that finally creates a typographic image.

The Blackletter style Fraktur, and Helvetica were born to serve a purpose connected to power. Important for this research is to understand in detail, the origin of that power and its position: Blackletter portrays features of the Gothic architecture, expressing religious emotions and civic pride, intended for effective writing, and was predominant in religious and educational contexts. This improvement of writing was a necessity for the development of the society during the medieval times; for both educational and financial reasons.

As Fraktur became a symbol of Germany, the today’s connotations towards oppression and Nazism were inevi­table as the Third Reich continued to use it until it was banned in 1941. Meanwhile, the post war modernism in the 20th Century, sought objectivity, simplicity and readability in their design, to erase any carried meaning or associations that could have a misleading effect on the information. This period of time paved way for a corporate culture, with approaches towards rationalist and function­alist methods, that expresses authority and reliability. Achieving brand recognition for a wide range of products and contexts was required by the graphic designers.

Through workshops that document people’s associations and comments on the shapes and typographic images that both Helvetica and Fraktur create, and visual research made in forms of sketching and adding Fraktur features to signs of institutions and public sectors, I have investigated Fraktur’s tainted image of oppression and political sentiments with the help of Helvetica as the contemporary norm.

Visual aesthetics play a vital role in today’s Western society. We built up a society where physical appearance represents high values in our everyday life. Not only the way we consume things and engage with the internet have a connection to how we see and place ourselves in society but the way the system works and treats us. Under the word “system” I refer to the intertwined connection of patriarchy and capitalism. With this project, I explore this connection as well as how the system influences social norms, body aesthetics and acceptance. More specifically, I take shaving and myself as an example and examine the question of “Why do women shave?”. The representation of women in our current society shapes our idea and opinion on shaving therefore I work with questions such as: How are social norms created and how do they influence us? What are the ways to challenge and break these norms, if it is possible at all? How can our capacity for developing autonomy remain while being influenced by the system? My practice investigates these questions comprehensively and addresses the importance of discussions and the understanding of the roots of our behavior as well as how we as individuals contribute to the influence of society and the system.

I denna uppsats undersöker jag hur dricksglas i materialet glas kan anpassas för reumatiker. Syftet med studien är att titta på om jag kan finna alternativa lösningar på att det idag inte finns ett attraktivt alternativ för reumatiker vad det gäller glas. Jag utför min undersökning genom att designa ett antal olika exempel på glas och dessa testas senare av en testgrupp som består utav fyra av Reumatikerförbundets medlemmar i Göteborg. Uppsatsens resultat visar att tre av de glasen jag designat har särskilt potencial vad gäller behjälpliga former för reumatiker.

This project aims to equip people with a more nuanced understanding of cross-racial adoptive identity. This will be actualised through the telling of my own personal lived experiences, as well as other cross race adoptees’ stories.

This paper examines the issue of our over-consuming society and its consequences using the example of the fashion industry. As the fashion industry alone is one of the biggest culprits in the global environmental deterioration and overexploitation of resources, the paper mainly focuses on the environmental impact. As a solution, the paper presents the application “Lessly”, which can help individual consumers to change their shopping behaviour and become more sustainable in their choices. In particular, the paper outlines the development of the app and the design decisions. The main token of the app is a mascot which also shares the name of the app, “Lessly”. The name originates from the saying “less is more” – the slogan of the app, which intends to describe the counter-movement of the ever-accelerating fashion consumption. Thus, the Lessly app represents a convenient tool for positive consumer change and the potential for a better environment and future.

The work deals with everyday racism, the racism is expressed through the structures,values and words daily in Sweden. What are the consequences for those who are exposed to it, and for those who unwittingly or knowingly expose others to racism? How can we become more aware and recognize our own role in the structural discrimination of others, if we belong to the white majority in a country like Sweden? Through a graphical campaign, I want to highlight other people's stories and experiences of racism but also shed light on how to respond to their own racism. The campaign targets young people in high school.

Nybro Bostads AB efterfrågade en utsmyckning av området kring deras nybyggnation av bostads området Grönskog. Jag såg en möjlighet att kombinera deras önskemål med att uppmärksamma de boende samt förbi passerande på ett av våra största problem för att skapa ett hållbart samhälle; de växande sopbergen samt utarmande konsumtion.

      Idag använder vi oss av föremål för att manifestera vår identitet. Vi kastar och köper nytt som aldrig förr, utan att fundera på varför vi ser somliga föremål vi redan har som skräp. Genom att skapa en ”bytarplattform” i Grönskogs miljöhus vill jag uppmärksamma de boende på att det föremål som blivit till skräp för dem, fortfarande kan ha ett värde för någon annan. På ”bytarplattformen” kan du ställa dit och ta de föremål du vill, det skapar en subtil interaktion mellan de boende i området.

      När de boende kliver in i miljöhuset står de inför valet av den box vars färg och form i samverkan med valet av boxens placering i rummet syftar till att på bästa sätt framhäva föremålet. De måste återupptäcka värdet i föremålet. Boxarna placeras in i de små fönstren och väggens tjocklek skapar hyllplanet. Fönstren är placerade i ett vågmönster och genom ljusflödet skapas ett sammanhang mellan rummet och omgivningen. Det blir ett skyltfönster för de boendes bidrag till ett mer hållbart samhälle.

This project investigates how service design can support rural community efforts to improve internal communication and promote activities. The focus lies on Kalvsvik, a village in southern Sweden, where a group of residents expressed dissatisfaction with the current state of communication. The aim is to bring clarity and structure to this situation, facilitating the development of effective communication channels and strategies among different parties. This process involves engaging with local associations, understanding their challenges, and proposing solutions to develop collaboration. By designing a guide for communication practices, the project seeks to benefit not only Kalvsvik but also other rural communities facing similar issues. The project underscores the importance of good communication in fostering active community participation, which in turn contributes to sustainable rural development. 

Vehicle transportation makes up for a large proportion of global greenhouse gas emissions and is a major contributor of the climate crisis. Even though bikes emit practically no greenhouse gases, the production phase still cause environmental damages. Especially the choice of materials dictates the sustainability of a bike. Thus, the aim of this project is to problematize the current material choices made in the bike industry and explore how sustainable materials can be applied in a product-oriented industry to find sustainable design solutions. The material used in the project is provided by PaperShell Industries that supply a cellulose based and circular material for B2B. In order to fulfil the aim of the project a bike saddle was designed. The theory of circular design was guiding the design process, and various methods was applied. Focus groups were combined with co-designing in an innovation process. The design process was divided into three parts: research, ideation, and realisation. In the first part, focus groups, benchmarking, research ergonomics and research through design were conducted. The second part included brainstorming, mind mapping/tree diagram and moodboard. In the final step sketches and CAD-models were made and an innovation process was applied. Following this design process, the author concluded that fully cellulose based materials are suitable for the bike industry because of the low climate impact. The material also has the right properties for a bike product. The project suggests that circular design can be realized by implementing sustainable materials such as cellulose based materials, 

This is a project about how the furniture industry could become more sustainable intheir waste handling. The project is based in Småland both geographically and interms of heritage and history in order to encourage locally produced products. Thecollaborators for this project are the two furniture companies Swedese andStrömslunds Snickerifabrik AB. Both companies have their production in Vaggeryd,Småland. Both companies are struggling with the waste that they produce. The aim ofthis project is to find a sustainable solution for their waste issue. In order to find asolution two theories are applied. The first one is industrial symbiosis which meansthat several industries can, by collaboration, profit from each other’s resources. Thesecond theory is circular economy which encourage remake, reuse or recycling of aproduct once it has reached its end of life. To prove that this solution would be possiblea hunting chair was made by combining the waste material that was gathered fromSwedese and Strömlunds. The decision to make a hunting chair was made to connectthe chair with the heritage of hunting and foresting in rural Småland. The making ofthe chair was different in the way that instead of that the designer would tell thematerial what was possible it was instead the material that decided the limitationsand possibilities. The final product fulfils its purpose and works perfectly for outdooractivities, even though some minor design decisions could have been changed. Theoutcome proves that Swedese and Strömslunds could benefit from working more withcircular economy and start cooperating in order to work as an industrial symbiosis.

The Five Aspect Meal Model (FAMM) is a valuable tool for exploring the entirety of the meal. Factors within the model are interdependent, and each relates to different forms of knowledge such as science, practical production, aesthetics and ethics. The present paper explored the role of consciously designed artefacts in the dining room, especially wine glasses, and their importance for the meal experience from the perspective of sommelier craft, art and science. Knowledge and awareness of utensils are of importance during the process of preparing, planning and serving a meal. A glass is, in effect, an instrument for communicating wine to the human senses. Therefore, the design is an important part of the meal experience, and its effect in enhancing the meal can be evaluated using FAMM principles. By working consciously with design, greater guest satisfaction can be achieved and the meal experience can be enhanced.

In this essay, the research question: “How can I make teenagers use drugs more responsibly without using a scaremongering approach?” will be explored. The process will include theoretical research on the definition of drugs in relation to a strategy for reducing risks in the lives of adolescents, from a sustainable take. Another question that will be answered is why anti-drug campaigns fail, and my solution to this will be given. The result of this project will be in the form of an interactive online guide for teenagers. The aim of this project will be to provide high school students with a way to find important informa- tion they should know, before trying drugs. The case study is Romania. Here drugs are still a taboo subject and they are not explained nor talked about, in schools or families. Therefore, my guide provides explanations based on several people’s experiences and opinions about the most common drugs here. 

More and more companies today choose to design their offices after an activity based principle. It is known that the open landscapes creates problems when fewer can concentrate. However, the activity based office solves many of the previously problems, since you can change the location after your work.

The aim of this paper is to present a comparison between 2D and 3D models as tools for evaluating workplaces. The comparison focus on differences in the comments when evaluation with 2D and 3D models. The results make strong indication that overall layout, line of sight and space are perceived differently in 2D and 3D models.

This report explains a design process, aiming to create tools and methods to foster belonging for adolescents who experience inbetweeness. Inbetweeness is a form of existential loneliness often affecting adolescents, who in the transition from childhood to adulthood face conflicting demands and expectations. Collective creative making was explored as a method to encourage connection and a sense of belonging, identity, and meaning for youth. This was done through workshops and designing tools together with facilitators working with youths. The result became a circular guide for youth workers to use, to continuously support their process of inviting, hosting, making, and reflecting concerning youth who experience inbetweeness and therefore foster belonging.

By creating memories connected to things, we create an emotional bond to them. Many people have heirlooms in their homes used by several generations that still plays a role in their everyday life.

The goal of my project is to create a blanket that the owner can use throughout their entire lifes and then be able to pass on to the next generation. The material should allow the blanket to be used while being durable enough to be used by several generations to come.

This full day workshop intends to explore approaches,methods and techniques that can be used in participatoryprototyping of services. The participants will contributewith their experiences of different ways of working withparticipatory prototyping. During the workshop theparticipants will share, explore and give feedback on themethod or case that they present. By engaging in othermethods there will also be a learning activity. Anotheraim of the workshop is to initiate research anddevelopment of knowledge within the emerging field ofparticipatory prototyping of services and product servicesystems. One particular interest regards the relationbetween details and “the whole”. The emphasis of theworkshop is to have creative learning experiences.

As a change agent in this project, my mission is to inspire and motivate fellow up-cycle designers, renovation artists and DIYers to join the vision to accomplish a more sustainable furniture and interior design market, along with architects, engineers and other professionals who work in the field. In this report I will be describing my process of applying the Cradle to Cradle strategies as a theoretical tool and guide for change, through analyzing the production of a chair, restoring and updating it to enable a biological cycle of its materials. The primary user of the chair is myself, the up-cycler, as an encouragement for sustainable DIY practices around old furniture for your own home. 

This paper presents a project done within the field of office interior design, which aims to create an efficient set of services that caters to the needs of the interior designer while procuring and implementing used furniture in their projects. The project was conducted in collaboration with Plym Projekt AB, an interior design company who introduced the thesis topic, and Easy Steps, sustainability-focused consultancy company. The collaboration involved regular sessions throughout the course of the thesis, including feedback, guidance and co-creation. During the past two years, the Plym has seen an increase in the demand for sustainable furniture options in the office interior design field. Since then, the company has been attempting to update its business model to provide its customers with a sustainable alternative, encountering obstacles along the way. In addition to a literature review, primary research was conducted, including stakeholder interviews and an end-user questionnaire. Upon empirical data, the authors identified a gap in the industry that is ideally suited for a new actor. The project results in the development of this new actor and its business activities through service design, proposing a set of services that will not only benefit the interior designer, but also its clients, furniture suppliers, and other stakeholders in the office furniture industry. Finally, the service is partially demonstrated through the prototype of a digital platform.

Det här projektet handlar om mitt försök att skapa en motorcykelhjälm för framtiden. Projeketetutgick ifrån en idé om att ta in tekniska lösningar och förhöjda säkerhetsaspekter i ett ochsamma koncept. Projektet är i första hand ett designarbete, vilket innebär mer fokus på research,skiss och formarbete.Projektet består av några större delar där arbetet delats upp. Bland annat research i början ochsenare skissprocess. Avslutningsvis kommer det slutliga konceptet och slutsats.

Nyckelord: designprojekt, motorcykelhjälm, säkerhet

Denna text kommer handla om mitt examensarbete där jag samarbetade med B Sweden belysningsbolaget för att ta fram en bordslampa. Texten kommer ta upp hela designprocessen, från idé till slutmodell.

My aim for this project was to create change by showing people opportunities to enter into a closer relationship with themselves, others and eventually the earth by developing an (oracle) card deck that focusses on ‘inner care’ and the use of visual communication/ design as a ‘healer’ to enhance someone’s personal ‘internal sustainability’. The concepts of intuition, inside-out sustainability and interconnectivity lay at the foundation of this. The created visual communicative tool:‘The Embodied Intuition Card Deck’ has the potential to invite the individual to connect, feel, map, assess and learn about the nudges of their intuition and the interconnectivity of empowerment within us, as nature. Every card in the deck holds a unique ‘channelled’ message that helps the user navigate through and re-aligning with their intuition. Through this ignition of intuitive knowledge within the receiver, decision making from the soul can occur, where the planet at large can benefit from.

We as humans seek connections and closeness, and psychology enlightens us as to why that is. Our close relationships are essential to our health, well-being, personal happiness, and even personality develop - ment. (1.) These are the bonds that hold together our minds on a small scale and hold together our society on a bigger scale. For it being such an essen - tial part of our life, why is it that so many of us feel lost when it comes to building a strong bond with a person?

Closeness and intimacy can express themselves in many ways, and these expressions differ from person to person. We get taught by things we see in the media, on the streets, in society. Like holding hands, kisses, and the giving of gifts. Then there is what we see from our parents and our family. Our personal background shapes our idea of how inti - macy is expressed. Per usual the majority of what we know on how to form strong relations is expe - rience-based knowledge, either our own or that of the people close to us. But what about all the knowl - edge out there scientifically captured from the wild, don’t we have access to this? And if so why are we not engaging with it?

Building on the main psychological concepts of inti - macy I aim to make a bridge between the academic world and the real world.(2) As a student, I have access to certain knowledge and as a designer, I can figure out how to communicate them. I am exploring how I can make intimacy visible, tangible, and with that, more readily available. I am doing this by designing artifacts that act between two people. These artifacts aim to facilitate intimate practices that inspire trust, closeness, and self-disclosure.

1. Mashek and Aron. Handbook of Closeness and Intimacy. (New York: Routledge, 2013).

2. Richard Bunchanan, “Wicked Problems in Design Thinking.” Design Issues 8, no. 2 (Spring 1992): 5-21. http://www.jstor.org/stable/1511637