This article analyzes the cancellation of a public lecture by Palestinian scholar, Walaa Alqaisiya, during a curatorial program at the Academy of Fine Arts Vienna in May 2022 due to false accusations of antisemitism in the context of anti-Palestinian racism in Austria. We speak of an 'architecture' because we analyze the questions of power, (in)visibility and erasure from the point of view of the public and institutional spaces, asking who can speak, about what and for whom, when? As a collective of former participants, we write from an implicated positionality that we call 'participatory witnesses:' the program ceased to be an abstract exploration of decolonial and queer/feminist perspectives, and transformed us affectively and politically, forcing us to critically respond to the censorship. We start by summarizing the unfolding of events and introducing the figure of the participatory witness and the concept of architecture. Then, we turn to Austrian academia's climate of censorship of Palestinian perspectives. From this context, we analyze Alqaisiya's cancellation through the prism of Euromodern Orientalist tropes, disciplinary strategies and civilizational discourses employed to continue the marginalization and exclusion of Palestinian perspectives. We pay particular attention to the significance of silencing queer Palestinian voices in the context of Israeli pinkwashing. Finally, we mnemonically map our attempts at navigating the architecture, negotiating between reclaiming public visibility for queer Palestinian perspectives and collective acts of refusal and delinking.

In the early-15th-century book Il libro dell’arte by Cennino Cennini, the author uses the word diadema about a dozen times. The most recent Swedish edition from 2011 interprets this not as an object but as a halo, a divine light. The earlier edition from 1947/2000 keeps the closest meaning, a diadem, and by that the physical item. Both a material diadem and an immaterial halo would be represented in gold in the paintings described, consequently the symbolism of this material is closely linked to the interpretation of the motives Cennini could be describing.       

The time around 1400, in Florence, is an important period of transition, where a fashion that differs for men and women has just been born, the boundaries of the sumptuary laws concerning headdress and jewellery are constantly challenged by women, and the rise of a more secular world where an individual dignity developed may instead be an argument that the word diadema is an essential sign of a more materialistic lifestyle emerging. Several factors come together arguing that the golden headdress of the early renaissance played just as important a role in paintings as the divine light and therefore showing that not every item gilded is a symbol of divinity, it can also be earthly belongings such as insignia, jewellery and dress decoration.

This thesis takes an interdisciplinary approach to research how design rationale may improve practices for participatory design in urban planning. Knowledge on sustainable development, participatory planning in public sector, design rationale and innovation are brought together to form a cohesive understanding for the matter of citizen dialogue and participation. 

To further gain knowledge on the subject a case study is done following the planning of a consultation at the urban planning office in Norrköping by participatory observations. Furthermore, semi-structured interviews are conducted with civil servants from Norrköping and Norrtälje, discussing the theme of citizen dialogue and municipal capacity and competence for its performance.

The knowledge contributions addresses the specific case study at first hand, but are also applicable in some general sense. The study shows that design rationale can be of use and inspiration to address issues of culture and mental models in public sector, as these as believed to stand in the way of forming a more innovative and adaptive public sector that can design better practices for dialogue and participation. Design thinking and attitude can bring openness and human centred perspectives, among other things, to public organisations. 

For the case study in question it is suggested that the urban planning office would benefit from implementing and trying out ways of working that are more in line with design thinking and attitude. It is also suggested that they might benefit from employing an experienced designer to be part of planning procedures, as expert designers can adapt methods and tools for participation to design case specific activities. To employ a more case specific and local approach to participatory practices is proposed to bring better results, both in terms of its democratic breakthrough as well as its impact on social sustainability. 

Overall, this thesis offers contributions to design knowledge, knowledge that in turn can be important for the area of sustainable development at large. 

This thesis project examines both inner and outer circumstances of knowledge in an attempt to emphasize the importance of personal reflection. I search for answers on how to communicate feelings through colour and form by studying Mark Rothko and the abstract expressionism. A personal reflection is made parallelly to expand my own understanding of the subject and my own role in relation to it. I also explore painting as amethod of deepening my understanding of Rothko.

Mark Rothko is both subject of study and tutor as I give myself the task of translating his art into my own design.

The result offers thoughts and ideas on the significance of the work of hand, the use of colour and the meaning of intention, which I claim are important aspects when aiming for emotional results. However I also reflect upon the fact that the communication remains individual and that it is therefore problematic to confirm success in this matter.

The article is based on a lecture performance titled “Archipelagic Rehearsals – Abstract as Score” that was presented at the RGS-IBG conference, held jointly by the Royal Geographical Society and the Institute of British Geographers, in Cardiff in 2018. The presentation was an exploration of a possibility to practice, in Édouard Glissant’s terms, “archipelagic thinking” by presenting a lecture with interaction from the audience, as a lecture performance. That “archipelagic experiment” is continued in the article through an attempt to format the performance as an academic text. In turn, the text is an attempt to create new imaginaries and storytelling with Spanish slugs through participatory artistic experimental practice. The writing as artistic practice offers the potential for becoming and as such it is unpredictable in its outcome. The article starts with the author’s framing of Glissant’s poetics and attempts a feminist and more-than-human approach to present the event – the performance of the lecture and the story of the slug in footnotes that were an integral part of the lecture.

This paper gives an introduction to some of the problems of modern camera surveillance, and how these problems are, or can be, addressed using visualization techniques. The paper is written from an engineering point of view, attempting to communicate visualization techniques invented in recent years to the non-engineer reader. Most of these techniques have the purpose of facilitating for the surveillance operator to recognize or detect relevant events (such as violence), while, in contrast, some have the purpose of hiding information in order to be less privacy-intrusive. Furthermore, there are also cameras and sensors that produce data that have no natural visible form, and methods for visualizing such data are discussed as well. Finally, in a concluding discussion an attempt is made to predict how the discussed methods and techniques will be used in the future. 

Uppsatsen berör den platsspecifika konstens spännvidd genom en fallstudie av två verk. Det ena verket har tillkommit genom en tävling som arrangerats av företag, organisationer, institutioner och kommuner. Det andra verket är ett privatfinansierat gatukonstverk som upplåtits utan tillstånd. Genom uppsatsen förs en diskussion om de båda verkens tillkomst och syfte samt hur de respektive städerna Stockholm och Söderköping förhållit sig till verken.

We examined customer and worker discrimination against gay and lesbian business owners using a web-based experiment conducted at a Swedish university campus. Participants (N = 1,406) were presented with a prospective restaurant establishment on the campus. They then stated whether they would be positive to such an establishment, whether they would be interested in working at the restaurant, and what their reservation wage would be if they were interested in the job. Owners sexual orientation was randomized across participants. Results showed that participants were less positive to a restaurant opening if the owners were lesbians, and they were less interested in an available job if the owners were gay. The participants had higher reservation wages if the owners were lesbians. In fact, the participants increased their wage demands when the number of women among the owners increased. Our study underlines that gay and lesbian people face various inequalities in society.

The manufacture and consumption of plastic is one of the world's biggest environmental culprits. In 2020, the Swedish government introduced an increased tax on plastic carrier bags to reduce the use of plastic. The increase has resulted in a higher price for plastic carrier bags, which motivates the consumer to use reusable bags instead. The purpose of this study was thus to investigate, from a sustainable perspective, how a reusable bag can be designed to increase purchase intention; the desire to buy a reusable bag, as well as increase use; that the reusable bag is used for several purposes and many times.In order to, through design, produce an optimal reusable bag, both product design and graphic design were examined. In the initial study, the target group's behavior around the use of reusable bags was examined. The initial study laid a foundation for how the bag would be designed and therefore goals were formulated based on the initial study's results and analysis. The goals have served as a starting point for concept generation and evaluation of the design. The design alternatives were evaluated partly through user testing of three prototypes of the bag’s function and product design, and partly through a survey where three graphic design concepts were presented. From the evaluation, the study received answers on how a reusable bag is designed to stimulate use and purchase.After evaluating the various design options for both product design and graphic design, a final design could be determined. The result for the product design was a bag in a square shape with a rectangular bottom, in organic cotton with a larger water resistant inner pocket and an outer pocket for a water bottle, for example. To appeal to the target group with the bag's graphic design, childhood characters were used as a tool, and the final design landed in an image of the literary figure Babar.

Det händer ofta att lärarna möter nyanlända elever i sina klassrum och uppmärksammar att de eleverna har annorlunda syn på skolämnen än eleverna som har växt upp i Sverige. På grund av detta valdes denna studie som har behandlat ett problem som kan uppstå när bildlärare möter nyanlända elever. Syftet med den har varit att belysa nyanlända elevers förkunskaper i bildämnet och få en tydlig förståelse om hur de uppfattar ämnet bild. På detta vis kom forskningsfrågan:

Vad har nyanlända elever för bildkunskap, och kan detta mätas genom att fråga eleverna hur bildundervisningen såg ut i deras respektive länder?

I undersökningen har kvalitativa intervjuer använts som metod för att förstå vad forskningsdeltagare tycker och anser. Materialet som behandlas består av inspelade intervjuer med 7 elever som går på introduktionsprogram i Sverige. Undersökningen har visat att intresset för ämnet bild som skolämne i elevernas länder beror mycket på vilka skolor de har gått på eller vilka lärare de har haft.

Robert Aman skriver om ett svenskserietidningsäventyr som avslöjande rutade in ett mörkt kapitel i svensk och östgötsk historia.

Bland livetsordare i Norrköping, en superhjältinna i Linköping och fascister i Mjölby. Robert Aman berättar om östgötarna i serierutorna.

This thesis presents "Data bricks space mission" a toolkit for children that allows them to gather a dataset of information in an engaging and interesting way. The kit is made up of elements that give the opportunity of a first approach to the data physicalization process, breaking down barriers related to knowledge and experience in the field. The experience is completed by a guided activity that, through a role play, inserts the the-me of the data collection in the school curriculum.

The study is based on the analysis of similar previous examples and the collection of information through interviews with instructors who work daily with children. Based on the insights of those theoretical and empirical foundations, a possible solution is presented that addresses the research questions.

Conceptualization of meaning in design-driven innovation and value in service innovation, seem to be sharing some core characteristics that are essential but have not yet been integrated. Thus, this paper explores design-driven innovation and its conceptual relevance for service innovation within the framework of service-dominant logic (S-D logic) by examining interrelation between meaning and value. Design-driven innovation is defined as a strategic framework that enables radical innovation through change in meaning relying on Krippendorff’s (1989) notion that people interact with artifacts because they make sense to them. On the other hand, S-D logic’s core concepts evolve around resource integration for value co-creation among multiple stakeholders addressing important complexities of service innovation. Both meaning and value share some conceptual commonalities. By exploring and interrelating them within their conceptual frameworks, this paper aims to open new ways for understanding and operationalizing service innovation and the role of service design within it.

Uppsatsens syfte är att undersöka hur skapande människor beskriver inspiration i sina skapandeprocesser genom att analysera texter skrivna utav fem olika skapande människor själva. Birger Gerhardsson (2014) har skrivit i Nationalencyklopedin att inspiration är ett andligt fenomen som övergår människans förmåga. Vidare i uppsatsen beskrivs den tidigare forskning och teori som funnits inom inspiration och kreativitet. Metoden som använts är textanalys och det för att kunna analysera vad det är författarna verkligen menar. Uppsatsen tar även upp kreativitet i relation till inspiration då de är två begrepp som relaterar till varandra. I resultatanalysen har Helene Billgren (2011) skrivit om hur hon kan titta på klippdockor för att hitta inspiration medan flera av de andra författarna inte har skrivit om inspiration med just det begreppet utan har skrivit mer om sina skapandeprocesser på ett sätt som går att tolka som inspiration. I summeringen av resultatanalysen beskrivs kortfattat vad uppsatsens resultat är, bland annat att det finns många olika sätt att beskriva inspiration och att alla beskrivningar kommer ifrån olika utgångspunkter. Diskussionsdelen diskuterar och argumenterar kring varför valet av metod var bra, hur frågeställningen blev besvarad och hur en vidare forskning på ämnet inspiration skulle kunna se ut.

Competition among companies that produce complex or large product portfolios has created a need to use modularity strategies not only to flexibly manage technical complexity in a cost-effective manner but also to produce visually appealing products. This research aims to understand how the visual appearance of products is affected by modular product development strategies and creates coherent product brands. Thus, this study examines the intersection of design aesthetics, product portfolio management, product brand management, and design management. Specifically, this study aims to understand how such strategies constrain and generate possibilities when the industrial design process concerns itself with visual appearance. 

The main research approach has been qualitative multi-case methodology (Miles et al, 2014; Eisenhardt, 1989) and design theory building (Chakrabarti and Blessing, 2016) that collects data through interviews, experimentation, and theoretical studies based on findings in the literature. Sixteen face-to-face interviews were conducted with design vice presidents, senior designers, and senior design engineers at five Swedish manufacturers from the automotive, MedTech, consumer goods, commercial vehicles, and materials handling industries. 

This approach has resulted in the description of three theoretical models and a design method, product gist, for investigating prototypicality in a product category. Aesthetic flexibility reflects the requirement that under certain circumstances an industrial designer has to plan for future (as yet unknown) changes in a design. 

Each of the three theoretical models has a different focus: one model describes three ways manufacturing companies organise a strategic in-house design function; one model describes how design decisions are made on a general level through an intuitive and knowledge-based judgment process; and one model describes the strategies a manager needs to consider when developing an existing product portfolio and how the strategies influence industrial design practice. 

Understanding visual flexibility serves as a starting point for further investigations of how development strategies affect visual product design. This understanding provides industrial designers insight into how they can develop product systems that share design components across product lines to promote brand identity. The findings of this work illustrate and explain a complex and multi-facetted design phenomenon that many designers manage more or less intuitively today; therefore, this study advances the understanding of the field for academics, teachers, and professional designers. 

The increase in competition amongst companies that produce complex or large product portfolios has created a need to utilise modularity strategies not only to flexibly manage technical complexity in a costeffective manner but also for visual appearance. This research aims to understand how the visual appearance of products is affected by modular product development strategies. Specifically, the aim is to understand how such strategies induce constraints and generate possibilities for management of visual appearance in the design process.

Five studies have been conducted during the course of this licentiate thesis. Two were conducted with professionals and students in design, while the remaining three are theoretical studies based on findings in the literature, theory building, and experimental research. The goal has been to investigate how designers work when they are put to the task of changing and developing the designs of complex products that are part of a portfolio. The challenge has been to study what suitable strategies exist that manage complex products and product brands, then investigate how these influence designers’ practices.

The first study examined how coherence towards a product category influences the design of new products. The outcome of the study was a method to explore visual coherence and diversity in the appearance of a product category.

The remaining four studies investigated how modularity, brand management and the redesign of product portfolios influence a design process. The second study described a design phenomenon known as aesthetic flexibility, which was further explored in studies three and five. The outcome from these studies was a proposal for four aesthetic flexibility strategies.

The fourth study investigated in what way portfolio extension strategies found in brand management and design research are related, and how such strategies influence aesthetic flexibility. The results from study four were illustrated as a model.

The main contribution of this work is the phenomenon of ‘aesthetic flexibility’, which helps understand the factors that influence designers when working with branded modular products. Understanding visual flexibility serves as a starting point in further investigations of how different development strategies affect the possibilities for visual product design.

The findings of this work serve to illustrate and explain a complex and multi-facetted design phenomenon which many designers manage more or less intuitively today, thus advancing academics’, teachers’ and professional designers’ understanding of the field.

Industrial designers make decisions in a different way than other professions. This creates a discrepancy in cross-functional development projects which impacts both the organisation and how strategic decisions are made in a company. A multi-case study was conducted to investigate how design functions in five mature Swedish manufacturing companies were organised and how they made design decisions. Sixteen senior design mangers, chief designers, and senior studio engineers were interviewed. The research found that design teams could be organised in three separate ways depending on the level of strategic involvement in the company and how many were assigned to the team. The respondents described a dual decision process where proposals are judged in a continuum between two intuitive measures, ’Wow’ and ’Shame’, and a compromise phase with input from other company functions. The results can aid senior management in their understanding of strategic design functions and further the academic design decision discourse. 

In today's competitive market it is essential for companies to have a clear brand identity towards it consumers and users in order to be successful. Consumers have often a variety of products to choose from and the challenge for a company's products is to be discovered and remembered. An important factor is recognition of a product and how it is conceived through our perception which is mainly an identification process based on familiarity, resemblance or similarity. Furthermore, the visual part of the brain organizes the surrounding into patterns which are used as a guide for us, and to capture the surrounding is called getting its gist. The process of finding resemblance in a design space is often done by the designer as an implicit part in the design process. If this implicit knowledge could be more objectively visualised it might be a helpful tool to create a visual baseline of how consumers would experience the product segment. To show similarities and differences of design features quantitatively can facilitate the communication in a design development project. This paper explores how the concept of a product gist may be used to create a conceptual product sign and also how it could be used to analyse what the design space looks like in a given product segment. By quantitatively overlaying transparent pictures in a product segment visual pattern emerges that can be used as a communication tool in a design process when discussing brand recognition. In this paper a power drill is used as a simple application to illustrate the usage of the proposed product gist.

The continuous management of a manufacturing company's product portfolio is a key aspect ofsuccessful product development. Managers determine when and which products should be updated orterminated. This process influences inhouse Industrial design teams, thus prompting a range ofdevelopment strategies they might deploy. In product portfolio management there is a tension betweenstandardisation and customisation. From a marketing perspective this is may be addressed through brandDNA, from engineering through modularization. The design perspective (merging those two) has beenill-explored, particularly from professional designers. Previously we proposed a theoretical modeldescribing different industrial design projects and how they influence industrial designers strategicthinking. It was developed through literature reviews and examples found in manufacturing industry.Through a multi-case interview study with 16 participants from five manufacturing companies withstrong brands, this article aims to empirically evaluate the proposed model. The results show that therespondents could describe all but one industrial design projects, the cause maybe that they had not beenexposed to saving a company by doing a total makeover.

Based on a project from the third course in furniture design at Carl almsten Furniture Studies I have got the opportunity to design outdoor furniture with integrated lightning for John Mattson Fastighets AB, property owners in Larsberg, Lidingö. My concept is to create a space for socializing and security. I have worked through a design process based on a specific specification and concept formulation. The furniture will be produced by the lighting company ateljé Lyktan. In this thesis I will describe the process of this product development.

Parallel to the design process I have done an investigation of the market for my furnitures and outdoor furniture generally. My question is about how the process of the outdoor furniture looks from sketch to reality. Who decides about the furniture in the public space in the city of Stockholm? The result bifurcates into two different parts. The first touches the order John Mattson Fastighets AB did and will be presented in the form of pictures and drawings. The second result concerns my investigation. It is mainly landscape architects that distribute and decide about outdoor furniture in an outdoor environment, but depending on customer requirements vary on the furniture. Architect offices usually wins contracts through tenders or are hired by a private customer.

Denna studie har undersökt den praktiska användbarheten av befintliga teoretiska ramverk inom service recovery-området som utgångspunkt för att utvärdera och utveckla recovery-arbetet i tjänsteföretag. En datainsamling på ett större svenskt tjänsteföretag har genomförts med ett fokus baserat på befintliga teorier om service recovery. Det insamlade materialet har sedan bearbetats av nyckelpersoner på företaget och funnits leda till en inte oansenlig mängd insikter och åtgärdsförslag relaterat till organisationens recovery-verksamhet. Detta leder till slutsatsen att de teoretiska ramverk som beskriver service recovery-processen framgångsrikt kan användas för att styra utvärdering och utveckling av en organisations recovery-verksamhet. Information som insamlats med befintliga teorier som lins har visats vara relevant för en organisations insikter om det egna recovery-arbetet samt bidragit till utveckling av recovery-verksamheten.

With abroad education of arts, textiles and nowthe upholstery there were nota long step to become interested inthe visual withinthe upholstery trade. I have chosen to highlight the shapethe world with boththe artist and thecraftsman's eye. I have explored hownew expressions canbe created from traditional methods and materialsfrom upholstery andrelated crafts suchas tailoring for Royal andsaddler. These craftsmake up a webof technologies, materials,and to some extent tool returns and borrowed.By looking at afew items fromthese crafts haveI let myself beinspired and made ​​use of knowledgehow to buildforms and eventransfer them tonew areas inan aesthetic andartistic direction. The result is fourcushions which relateto the free professionsand traditions of our craft history.The visual depictionof each ofthe cushions is essentially based onone of thesubject I havestudied: a 16oo-century costume, a1700s bed orbridal saddles fromthe early 1800s. But on techniques and materialsI have seen thestudied handcrafts as a smorgasbordof possible solutions.

In the aging world of today, more attentions are grabbed towards studies on elderly. New facilities and technologies are emerged to serve to the elderly, maketheir life easier, better and more useful. Having participated in a study on thequality of life of the elderly in Europe, it was aimed to run a similar project toresearch the quality of life of the elderly in a Non-EU country. This was donethrough the research questions “What is the quality of life for them?” and “Howa designer, focused on service design, can improve their quality of life?”The knowledge for the study was obtained from fields Quality of Life of ElderlyPeople, Service Design, Service Design Process, and Qualitative Research. As thekey country for this study, Iran was chosen. Study on the target group in thiscountry was done through Cultural Probes and in analyzing the probes, Processfor Empathy in Design was used. To visualize the results of the target group study,Affinity Diagrams and Personas were drawn.The result was designing a service for the target group, which is presented byConcept Scenario, Storyboards, System Maps and Blueprints. In this concept,called “Virtual Family”, the personas are encouraged to be members of a networkwhich is supported by an organization/community in terms of health, social life,leisure activities and educational programs. This network is forming a virtualfamily regarding the traditional values and ethics which are important for thisage group. Additionally it supports them with entertainment and educationalprograms. Later on, the service concept was evaluated by a number of people inthe same age and social group of the target group. Evaluators found the conceptan excellent complement for mentioned target group who are on the verge oflosing their family and social structure, but the organizational system of the contextcountry should be studied to know if it is planning is practical in that context.

This year at Communications Biology, we wanted to celebrate Transgender Day of Visibility by highlighting researchers at multiple career stages. In this Q&A, we asked early-career biologists about their own achievements, academic experiences, and how STEM can better support trans researchers.

As companies increasingly cooperate with and rely on other companies to compete on a global market, the concept of supply chain management and logistics is gaining interest, from practitioner as well as researchers. Studies of high-performing companies, such as Benetton, Toyota and Nissan report that these organizations take a strategic view of the whole process of supply from original sources of material to end customers, achieving more efficient operations management and more effective strategic management.

Supply chain management has received an increased interest during the last 10 years, similar concepts such. The study identifies a need for design studies in the area of supply chain and logistics, partly because few studies has been made with a design approach and that traditional methods for design are often focused on design of one function or the formal organizational aspects of logistics. Supply chains are more complex than these types of design, since several companies and several different functions are included. The study is based on a systems approach and is theory generating. The focus of the study is on identifying design variables that can be used to understand the logistics content of a supply chain design and to generate alternative design solutions. The study builds on the -assumption that it is not enough to measure efficiency or effectiveness of a system. It is also necessary to understand the logic under which the system operates. It is only based on that understanding that a new design can be made.

To handle the increased complexity in supply chain design the system is analysed using three perspectives, process, function and organization. Design variables are identified in each of the perspectives, in the form of a number of constructs and concepts. The constructs are tested in two case studies. The study is theory generating and the results can therefore not be said to do more than suggest the importance of a number of design variables, and the importance to in supply chain design to use several perspectives. The three identified perspectives have been found relevant as well as the theory generated constructs. This does however not mean that these are the only three possible perspectives or the only important design variables. Further research is needed in the area of supply chain design before a design model can be suggested. This study suggests a structure for how to organize design variables using three perspectives (process, function, and organization) and three levels of abstraction (construct, concept, and activity). It is also suggested that to generate design solutions these have to be addressed in a certain order. The complexity makes it impossible to address all questions at the same time. The methodology follows what is suggested when using a saticficing approach in systems theory.

The first step is to clarify the aim of the new design by using the conceptual level. The concepts are often based on best practice studies and often suggest a design solution that has been found useful. The next step is to define the content of the system that is to be designed by defining the activities that are included. To uphold the supply chain focus it is suggested that the constructs in the process perspective are addressed in the next step. The last two steps are to address the constructs in the functional and the organizational perspectives in that order.

How can service prototypes be created and evaluated? This paper describes how methods like bodystorming and experience prototyping can be used in combination with pluralistic walkthrough in an evaluation method we call ‘service walkthrough’. We put the method to test in the development of augmented tourism services at the author Astrid Lindgren's childhood home. After initial design work, a mock-up and roleplay of a treasure hunt in the garden of the childhood home was made. It was evaluated using the service walkthrough method. The most important lesson learned was that a service walkthrough can be used to evaluate service prototypes and that it reveals information about practical as well as experiential issues for users.

What do we mean if we say that a service design work is an example of good design? This paper presents a provisional typology for the ways in which a service design proposal can contribute to value-in-use. The typology covers instrumentality, technical excellence, usefulness, social significance, mutual advantage, collective welfare, and aesthetic values. Moral implications related to norms, power structures and tensions between stakeholders are also considered. It is argued that the typology can facilitate service designers and researchers in framing and re-framing a design effort and conceptualise a value proposition. 

One approach to getting to know a user and understanding the user experience (UX) is phenomenology. Currently, there is a lack of clearly defined methods for phenomenological analysis of user experience in design projects. Interpretative Phenomenological Analysis (IPA) is an approach developed in psychology, and in this article, it is adapted to the case of a pro bono design project at a UX design agency supporting a disadvantaged group of people, newly arrived immigrants to Sweden. The design project involved research on how the immigrants experienced a service that introduced them to the job market. The adapted method, UX IPA, contributed to the pro bono project with a focus on both experience and meaning, which is important in design projects that relate to major events in users’ lives. The method was considered less appropriate in UX projects for specific products with highly instrumental use. The method can, in many cases, be too costly. However, costs can possibly be reduced by top-down approaches. In commercial UX projects, the method may be appropriate for the fuzzy front-end of design and innovation, but clients may be unimpressed by the small sample size. This can potentially be alleviated by mixed-methods approaches.

Förändring sker! Med en snabbt växande informationsspridning och teknikutveckling kommer vi möjligtvis behöva ändra vår syn på marknadsföring. Eller?

Med detta arbete är syftet att undersöka hur marknadsföring går till idag och vilka marknadsföringskanaler som används. I arbetet läggs fokus på att tydliggöra en djupare uppfattning om marknadsförings-ämnet hos fyra informanter. Undersökningen genomförs med en teoribakgrund om viktiga delar inom marknadsföring, så som sociala medier och varumärkets roll i sammanhanget. Därefter utformas en enkät som skickas till de tillfrågade per mail. Informanterna delar med sig av deras uppfattningar kring deras egen marknadsföringsprofil.

Med olika förutsättningar för verksamheten läggs det mer och mindre vikt vid olika delar i marknadsföringen hos de olika informanterna. Oberoende av examinationstid skiljer informanterna på hur de väljer att uttrycka sig i marknadsföringen. Fokus ligger på att framhäva ett tydligt bild- och formspråk, främja varumärket och förståelsen hos kunder, hitta rätt bärare och att skriva och visa bilder på egen tillverkning. Diskussionen förs i koppling till teoribakgrunden och om det finns samband med tidigare forskning och en bakomliggande anledning till val av marknadsföringskanaler. Finns det skillnader mellan att vara examinerad formgivare på 1900–talet kontra att vara examinerad som formgivare på 2000–talet. 

Fonogrambranschen har aldrig mått sämre än idag, i alla fall inte under de senaste 17 åren och några av dessa faktorer som bidragit till nedgången finns presenterade i den här rapporten. Det vi kan se klart och tydligt är en koppling mellan den sjunkande fonogramförsäljningen och konsumentens ökande intresse för filmköp. Allt för låg kvalité på artister och album har lett till fonogrambranschens nedgång och den låga kvaliteten på fonogram gör att konsumenten tappar intresse för produkten och väljer att köpa en alternativ produkt.

This work is a search for a creative process that suits me. I gaze outwards to find new ways to do and provide more opportunities for me in my making and ultimately get closer to my own way of creating. Through interviews with active creative performers in various media, such as designers, a cartoonist, a musician and a poet I search for possible new methods and processes. Like the people I interview, I want to share stories, through my making, from my self and origin. I want to share stories to evoke thoughts, memories and reflection.

My starting point is the methodology that Carl Malmsten Furniture Studies advocates. Through the interviews my process and methodology has evolved and I have explored new paths for my creativity. This has also resulted in two physical objects, a book of poetry and a storage. These two unitedly speaks my thoughts on the innermost room, which we all have within us.

In the thesis four paintings by J.A.G.Acke depicting figures in nature and four by Eugène Jansson from the navys bathhouse are compared and analysed. The analysis is based on the vitalistic ideas of Friedrich Nietzsche and Henri Bergson, as well as on different readings of vitalism as a concept. Their works are also analysed using the methodology of the aesthetic of reception.

The result of the survey shows that Ackes and Janssons paintings differ in their interpretation of the vitalistic ideas. The analysis of the aesthetic of reception on the other hand, concludes that an implicit beholder could have read both artists paintings as vitalistic, in spite of their different approach to the vitalistic ideas.

Mitt mål har varit att skapa ett koncept för en modulsoffa för offentlig miljö som i så stor utsträckning som möjligt är ekologiskt hållbar. Jag har samarbetat med möbelproducenten Lammhults möbel AB. Utifrån min egen idé om vad som utmärker en ekologiskt hållbar möbel har jag lyssnat in mig på producentens önskemål och därefter fördjupat mig i kravspecifikationen genom att undersöka olika materialalternativ, funktion och form. Min metod för att lösa min uppgift har varit research genom intervjuer, nätbaserade källor och omvärldsanalys av befintliga soffor på marknaden. Resultatet är ett koncept till en modulsoffa för offentlig miljö som uppfyller kraven på en ekologiskt hållbar produkt samtidigt som den representerar min egen estetiska vision som formgivare. 

The digitization of music has changed how we consume, produce, and distribute music. In this paper, we explore the effects of digitization and streaming on the globalization of popular music. While some argue that digitization has led to more diverse cultural markets, others consider that the increasing accessibility to international music would result in a globalized market where a few artists garner all the attention. We tackle this debate by looking at how cross-country diversity in music charts has evolved over 4 years in 39 countries. We analyze two large-scale datasets from Spotify, the most popular streaming platform at the moment, and iTunes, one of the pioneers in digital music distribution. Our analysis reveals an upward trend in music consumption diversity that started in 2017 and spans across platforms. There are now significantly more songs, artists, and record labels populating the top charts than just a few years ago, making national charts more diverse from a global perspective. Furthermore, this process started at the peaks of countries charts, where diversity increased at a faster pace than at their bases. We characterize these changes as a process of Cultural Divergence, in which countries are increasingly distinct in terms of the music populating their music charts.

In my thesis, I explore the challenges faced by current waste management systems and how design and innovation can promote sustainable behaviours to contribute to a better world. With a focus on circular design and behavioural design, I examine how these principles can be integrated to create an effective and user-friendly waste sorting solution for the home. The report highlights five key words for the design process: usability, aesthetics, practicality, accessibility, and flexibility. These keywords will guide the development of a waste sorting solution that is not only functional and aesthetically pleasing but also motivates and facilitates waste sorting in the home environment. 

By leveraging insights from behavioural design and circular design, I aim to address the issues with inefficient waste sorting and contribute to a more sustainable future. 

The result is an innovative waste sorting furniture piece that combines functionality with aesthetic design. It is designed to fit seamlessly into the home and make waste sorting more accessible. The furniture features several compartments for different types of waste sorting, each part clearly marked for easy identification. The materials are sustainable and carefully chosen to support long-term use and minimise environmental impact. 

The conclusion of my work shows that a well-considered combination of behavioural design and circular design can create effective solutions that not only streamline waste sorting in homes but also encourage a more sustainable lifestyle. 

Systems Engineering as a discipline provides many tools for managing complexity and reducing risks. However, these tools come with drawbacks when ideating new product concepts in early lifecycle phases when the problem and solutions spaces are open. This paper suggests that methods from the Design field have a complementing role early in the systems lifecycle, but that those methods need to be accompanied by a different way of approaching problems, something that takes time to learn. We present experiences from a hybrid university course, where regular students were mixed with professional systems engineers for more rapid development of Design method experience in both groups.

The history of furniture is full of parentheses, furniture that appeared for short periods of time, was never a big hit, was forgotten or even disappeared. We were convinced that amongst all these more or less forgotten pieces of furniture there were examples worthy of rediscovery and renaissance. By examining these pieces of furniture, we have understood their history and context, found out and reflected upon why they where never more than a parenthesis in the history of furniture, and, last but not least, we have gained an understanding of the purpose of their creation and how they were used. Our ambition with this research - by creating a feeling and an understanding of the furniture - has been to find the pieces that are well suited to act as models for new concepts and products. By describing the furniture’s original purpose, functions and context, we saw opportunities for product updates and rearrangement of form and function. We have made a selection based on a story of a fictitious company, a small company planning to put on the market a coherent collection of exclusive furniture of high quality. The purpose of the collection is to inspire to use and to create stylish, restful places in your home. The concept of the collection guided the criteria and discussions that were the basis of the choices we made when particular pieces of furniture were selected to generate new concepts. The purpose of our work was to show a process of working where we, as cabinet-makers, by means of examining historic furniture, create a coherent collection based on historic models. Our work has resulted in a collection of four pieces of furniture that have been modeled in co-operation with external designers and architects.  

How to participate proactively in a process of change and transformation, to shape our path within an uncertain future? With this publication, the State Of The Art Network marks a waypost on a journey which started in 2018, when like-minded Nordic and Baltic art organisations and professionals initiated this network as a multidisciplinary collaboration facing the Anthropocene. Over five years, ten organisations and around 80 practitioners from different disciplines, like the arts, natural sciences and humanities came together, online and in person, for workshops, seminars and discussions. The aim was to find ways to create resilience and concrete actions on how to live through the change in culture, economy and the environment and to find concrete, hands-on methods to deal with the Anthropocene and the environmental crisis. As an outcome of this process, this publication takes a closer look at how we as practising artists, researchers and cultural actors can create elements for critical thinking and doing which can assist us in navigating the complexities of the present.

Boken Mörkrets Geografi utgår från en serie performativa verk av Anna Berglind vilka rör sig i spänningsfältet mellan ljus och mörker - plats, minne och glömska. Det rika bildmaterialet från glömda platser; ett gathörn, ett tunnelsystem under jord eller ett övergivet och förfallet mentalsjukhus skapar tillsammans med texterna ett prisma av reflektioner kring konst, konceptualisering och lärandeprocesser. Reflektioner kring hur man genom performativitet och social interaktion kan öppna upp för nya publika möten utanför de traditionella konstarenorna. 

This work is about transcending in to another environment to discover new inspiration and new paths. It’s about borrowing from other areas of art/design to find different passages in to your own creativity. Without having a clear vision beforehand of how the end result would turn out, I wanted to explore how a fusion design process would look. I used the world of fashion as my starting point, the designer Diana Orving lead the way and I designed freely from that platform. By learning more from that other world, the world of fashion, I got a bigger insight in my own! Physically it resulted in a folding wall that symbolizes what I want to work with in the future.

An interactive multiple screen visualisation might become an opportunity for engaging and illustrative presentations of scientific, complex, and abstract research. With multiple (interactive) monitors, storytelling and interfaces could bring engagement, immersion, and attraction to the audience. The challenge of designing for a multiple screen setup is that the amount of information can be overwhelming, causing the perception of it and engagement with it to decrease. This thesis explores approaches that could enhance the perception and engagement of the content for a multiple screen setup.

The Research Through Design approach sets the structure for the entire thesis. It consists of methods for exploration, concepting, prototyping, and user testing. By following this research approach, three versions of a prototype were developed and tested which led to the results of this thesis. The overall nature of this research process was exploratory and the design decisions were applied during the activities.

The main findings of this thesis regarding the multiple screen setup during the research process included three attention guiding approaches: black and white, blur, and pause, and according to the user test participants, the preferred approach was black and white. The second vital aspect of the research and testing were the five-act story arc and interactive storytelling structures. According to the data from user tests, interactivity helped to increase the engagement and perception of the exhibition piece.

Building on the lead author’s experiences as a design practitioner in the Swedish public sector, we argue that Service Design as practiced today is often failing to attend to the design and delivery of actual public services. We explore the blank space we perceive between the rhetoric of evangelists for Service Design in the public sector in Sweden, the reality of working as a Service Designer in the Swedish public sector, and the reality of materialising public services. To explore this blank space, we present a number of generative conceptual metaphors for what, if not designing services, Service Designers or those adopting practices in the name of Service Design might be doing. We share a selection of these, in the hope of engaging the NORDES community in helping (re)integrate the rich tradition and conceptual frames of design as a materialising practice with the practice of designing and materialising public services.

Mot slutet av 1600-talet växte det fram ett nytt modernt sätt att se på och förhålla sig till smak. Detta är författarens utgångspunkt för förståelsen av det moderna smakspelet, vars utveckling och omvandlingar följs upp från 1700-talet fram till nutiden. Smaken analyseras från denna utgångspunkt som ett spel, vars föränderliga regler kartläggs och ställs i relation till det mänskliga omdömet och förståelsen av mänsklig praxis. Boken består av tre delar, en inledande essä kring tid, rytm och estetik, en omfattande mittdel där smakspelet dissekeras ur en rad olika infallsvinklar och en avslutande essä där en unik händelse i modets historia analyseras: när hattmodet gick i graven som mass- och konfektionsmode på 1960-talet.