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.

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. 

This thesis aims to explore how illustrative storytelling can challenge the western stigma of Arab women in areas of conflict. This exploration will be done through an analysis on the history and the current visualization of Arab women in the west and a series of illustrations I will be creating that propose a narrative opposing this visualization. My study will show how the visual references used for my research have had a major effect in shaping the image of the Arab women in the west. The aim of this project is to use the same characteristics that fall under the stereotypical visualizations of Arab women to challenge the stigma of classifying these women as; the terrorist, the exotic, and/or the oppressed. The purpose of my project is to create a change in the way the western audience perceives Arab women in areas of conflict. I will therefore analyze in this essay how western media and art have shaped the collective view the west has on Arab women. Furthermore, the essay will explain how storytelling proposes a rejection to the static depiction of Arab women in western media and introduces instead an element of an evolving story. This project proposes a sustainable way of looking at gender and conflict in the Arab world provoking questions around the visualization of these women and creating discussions about the accuracy of the perception the west has created. This in turn re-contextualizes the visualization of the identity of Arab women in the west with the aim of breaking the objectification these women.

This thesis is investigating in how current buying and purchasing decisions within retail interior are made and how they possibly could be changed or affected with sensory engagement, to promote social sustainability by promoting individual knowledge and sense making in B2B (business to business) context. 

The background for this thesis sprung from many sources but is mainly based on the last couple of decades’ societal changes in both digital developments, contributing to more separated consumer behaviour but also in the economical shift from a production area to a consumption age. Which both have fostered a, social and common confidence in the visual sense. 

Purchasers are today in 2017, are despite last year’s recent sustainability focus within, b2b, still controlled by business factors such as generating profit and increase market share. For this reason and due to a supportive technical development urging on screen information, much of previous instinctive material and production knowledge have gone missing since the faith in the mere visual still dominate the human perception and information intake. 

Business reliance on economical components has proven to not support the individual knowledge generation nor engage with entailing learning. In a series of interviews and LAB experiments this thesis explored the concept of lost material knowledge and developed a conceptual design tool for conversation and learning. Reaching out to rookies as well as advanced constructors of retail interior creating a bridge of tactile experiences to discuss and explore in B2B. 

By creating a common tool, effacing the focus on the visual, this thesis argues for the importance of bringing back the information and richness of tactile engagement in order to support and foster the individual learning process and break the chain of lost knowledge. 

A hypothesis that this essay is arguing for is that a reintroduction of importance at the individual level can make employees, within B2B, feel more involved and important in its development. In the long run, a continuation and development of this type of methods could change and question existing business strategies and promote the possibilities for social soft values to enter the B2B world.

Denna uppsats kommer att handla om högtalare, men där uppsatsens frågeställning

handlar om ”hur kan jag som designer sammanföra elektronik och vatten till en design

som passar in en badrumskontext? Fokus kommer även att ligga inom en

badrumskontext. Bland annat så kommer fakta kring högtalare och badrum att lyftas

fram och diskuteras. Detta beror i sin tur på att fakta kring dessa faktorer påverkar

designen utav högtalaren. Syftet till uppsatsen är att kunna ge betraktaren en överblick

på vad som behövs och förväntas utav en produkt designer för att kunna designa en

högtalare som är anpassad för miljöer som just badrum. Uppsatsen kommer även att

följa en produkt designers resa ifrån en produkt idé till själva produkten där olika

metoder och steg kommer att diskuteras, samt reflekteras kring. Detta för att kunna ge

en så bra bild som möjligt på hur processen har sett ut som möjligt, från början till slut.

Men även för att få en överblick i hur man som produkt designer tänker och reflekterar

kring design och dess process.

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 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. 

On 20 May 2021 the EU commission reached a provisional agreement on the issuance of the 'EU Digital COVID Certificate'––previously referred to as a 'Digital Green Certificate'. As The Institute for Technology In The Public Interest, we are deeply concerned about the short and long term implications of this Regulation.

The certificate is being introduced at great speed under the auspices of public health at a moment of urgency and vulnerability on all levels, be it the level of the state, political institutions such as the EU, collectives, businesses and individuals.

Whilst we recognize the vulnerabilities produced by the COVID-19 pandemic, in this bugreport we outline some of the serious issues that the implementation of the 'EU Digital COVID Certificate' raises. We think it is necessary that the EU commission undertake an 'impact assessment', a step which was dangerously omitted in the record time that the proposed EU Digital COVID Certificate Regulation was agreed upon by the different EU institutions. Our aim in this bugreport is to make a start with defining impact areas, with the hope that other concerned groups and individuals will further extend it.

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.

Boken "Bländaprojektet" är en sammanställning av ett konstprojekt genomfört under ledning av konstnären Anna-Karin Arvidsson. Boken presenterar hur projektet genom konstnärliga metoder och med den historiska sägnen om Blända som utgångspunkt på olika sätt belyst unga kvinnors rätt att ta plats i det offentliga rummet. Nya mötesplatser har skapats som genererat delaktighet, lust och styrka. Projektet har utgjorts av tre delar: en mobil skulptur, en serie workshoppar samt den här publikationen. Skulpturen har flyttats från plats till plats i Växjös offentliga rum. Val av plats har styrts av var frågan om jämställdhet i relation till makt har varit intressant att diskutera. Workshopparna har genomförts av konstnärliga projektledare i samarbete med unga kvinnor i åldrarna 20-35 år som varit på väg mot professionalitet inom ett konstnärligt område. Teman för workshopparna har varit: ”Att skriva den moderna Bländasägnen” med inriktning mot kreativt skrivande; ”Scen Blända” med inriktning mot musik och scenkonst; ”Att inta det förbjudna rummet” med inriktning mot design och bildkonst. Alla workshopparna har mynnat ut i en publik presentation i form av en föreställning, en iscensättning eller som texter och bilder i den här publikationen.

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. 

Ever since 1919 has “Rädda Barnen” aka, “Save the Children” fought for the rights of the child. The UN convention tackles many important fights today concerning social sustainability which goals are pointing towards the improvement of children’s life conditions. Today we live in an adults world with an adults mind. How are we supposed to change this world to a world fit for children and youth if we do not invite them into the decisions and change-makings? Are we starting to understand the importance of child participation and are we finally inviting them to start shape their world together with the help of adults?

This thesis contributes to a discussion around the work of Save the Children and the practice of co-designing with children by addressing article 12 in the UN convention; “ Every child’s right to hold and express their views”. It supports a complex activity with workshops and thoughtful discussions in how to change for a world fit for children and where research towards an understanding of co-design practice with children has played part.

The framework in this study presents a practical solution and an initial structure of co-design with children with a low-tech prototyping, all as a prop for discussion amongst parents and adults in the position of decision-making. 

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.

Houses are unique personal spaces and individuals want flexibility and personalization in building their dream house. There is a current challenge in the prefabricated housing industry in Sweden where customers have increasing design demands and options that in essence, defeat the purpose of fixed design and prefabrication. This causes strain to both the customer and the company’s design process and sustainability efforts. The purpose of the study is to map the customer demands in customization of prefabricated houses through the innovation process of ideation, realization, and implementation. The overarching strain in customization is due to (1) the complexity of choice in designing a house, and (2) the mismatch between customer demand and manufacturing capability. A design criteria with BIM was brought forward to aid in the customization process in being more objective for decision-making. Through a case project and a design criteria, a prefabricated house model was redesigned with maximized flexibility. The findings in this study is a contribution to the house manufacturers in Sweden as an aid in architectural design and client communication strategies.

We live fully embedded in Petroculture - in a society shaped by oil and its outcomes, meanwhile the substance itself stays practically invisible to us. This invisibility impedes our ability to rapidly address environmental issues, while narrating us into large networks of unequal power structures.

In this study, I emphasize the necessity of making oil part of our visual vocabulary and attempting to pierce its veiling cloak of invisibility through radical subjectivity, I investigate how might we contextualise the human-fossil fuel industry relationship in a way which will challenge oppressive binary structures and instigate action, in relation to climate crisis. 

By asking What do I need to see? I advocate for empowering body-centric practice of self-enquiry through visual thinking, using filmmaking as an intervention tool to point fingers back at oil and facilitate reflection upon the structures that sustain its persistence. 

The result of this inquiry is “The 5th Element”, a film installation made with a process of visual questioning and  mapping the experience of living in Petroculture. 

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.

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.

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. 

This collection of art and theory analyzes today’s post-digital conditions for critical media practices—across and beyond the analog and the digital, the human and the nonhuman. The contributions also look across and beyond the field of media art, staking out new paths for understanding and working in the transversal territories between theory, technology, and art. The concept of the post-digital is a way to critically take account of, contextualize, and shift the coordinates of new technologies as part of contemporary culture. The post-digital condition is not merely a theoretical issue but also a situation that affects conceptual and practice-based work.

The program of the transmediale festival in Berlin, celebrating its thirtieth year in 2017, has reflected these changes, and this book gathers new contributions from leading international theorists and artists of media and art who have taken part in the festival program over its past five editions. Divided into the thematic sections “Imaginaries,” “Interventions,” and “Ecologies,” this book is not a document of the festival itself, it is rather a stand-alone exploration of the ongoing themes of transmediale in a book format.

 The reader is developed as a collaboration between transmediale and Winchester School of Art, University of Southampton.

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.

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.

Med tre av konstnären Martin Arnolds filmer; Deanimated - The Invisible Ghost (2002), Shadow Cuts (2010) och Soft Palate (2010) ansluter jag mig i följande essä till Gustav Deutschs grepp; Film Ist. (1998-2002) Vad är film? Arnolds installationsfilmer fungerar som portal till ett samtal om filmens tillstånd och som utgångspunkt för en diskussion om delaktighet, tid och rum utifrån rörlig bild. Film är; försvinnandets estetik, ett skuggspel, repetitionens besatthet och found footage. Konclusion: Oavsett tid- och rumsaspekten av found footage-materialet är Arnolds installationers punctum att bilden fångar rörelsen men manifesterar försvinnandet i ett repetitivt skuggspel av ettor och nollor.

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.

Syftet med projektet har varit att designa en sittmöbel med en kombination avskoförvaring för privata hallmiljöer. Det finns ett begränsat utrymme för förvaring och sittyta i en hallmiljö vilket gör att det är viktigt att möbeln har ett lämpligt mått för att den ska passa in i olika hushåll. Min ambition för sittmöbeln är lång livslängd med bra hållfasthet för att den ska kunna användas i generationer.

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