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  • 1.
    Abrahamsen Egenes, Else
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Interior Architecture & Furniture Design.
    Organising of Space: about a orphanage in Tanzania2014Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    In my BA project, I travelled to Tanzania with a MFS stipend and experienced humanitarian architecture up close - by following architectural group Asant Collective´s project in Tanzania: a new Children Centre for a small non-governmental organization called ECONEF. 

    I have worked with social questions / responsibilities regarding our role as interior architects in developing countries - often feeling like a anthropologist.

    In my design part, I have re-drawed the layout for ECONEF´s planned new orphanage after a analyse of the existing orphanage, culture and traditions.

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    Organizing of Space - Else Abrahamsen, BA Konstfack 2014 - Interior Architecture
  • 2.
    Ceder, Clara
    University College of Arts, Crafts and Design, Institutionen för Bildpedagogik (BI).
    Design & Narration?: -A research exploring how design and narration, collectively, work as a means to expand the uncharted field of design pedagogy2011Independent thesis Basic level (professional degree), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    ABSTRACT

    This text process a design pedagogical research executed in Arvidsjaur during the fall of 2011. The formulation of questions that this study circles around regards how combining design and narration can be used in the development of design pedagogy. Also scrutinized, how did the formulation of this research affect the outcome and what means, in addition their attendance, did the people who partook contribute with?   

    The purpose is to find a pedagogic angle that moves focus away from the finished product and onto other aspects of the design process. To clarify, by investigating how narration adapts as a tool during a design process this research seek to enlighten ways that we comprehend, and make use of, our surroundings while working towards a common - designed - goal. What comes about when gathering a group of people and asking them to represent Arvidsjaur by designing a cup?

    The material used emanates from observations, narratives, images and finished artifacts – all deriving from a set of workshops held in the city of Arvidsjaur. To partake in the workshops was voluntary and the invite began with the question/statement: Design and narration? An ethnographically inspired method preceded the structure of the study and hence made it impossible to foreordain what would occur before arriving in Arvidsjaur. By placing the gathered material and observations along with a set of selected theories, such as sociocultural learning and social constructionism, I wish to enlighten and point out qualities, along with weaknesses, that this study occupies. 

    Beyond a written contribution, and the work on the field, the research resulted in a number of designed cups. These cups were photographed, processed, and depicted in three different ways – as posters and as a series of photographs. These images were on display during an exhibition at Konstfack in December 2011. My contribution to the exhibition was meant as a continuation on questions regarding design and narration. What happens e.g. with an item when it is displayed in this matter? When moved from one context to another? It is thus a way to stress the importance of questioning and challenge the way we apprehend our surroundings and what we chose to enlighten or leave out – a comment on a stirring development. I did not wish to explain to the viewer what the cups narrate; they were made to reveal something on their own. How they ultimately are received becomes yet another way of pointing out that how we experience something is dependent on a variety of circumstances.

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    Design & Narration?
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  • 3.
    Heberling, Rikard
    University of Arts, Crafts and Design, Department of Design, Interior Architecture and Visual Communication (DIV), Graphic Design & Illustration.
    “Auktoriteterna i farten”: I.G.N. och den nationella typografin2017In: Biblis, ISSN 1403-3313, no 80, p. 23-45Article in journal (Other (popular science, discussion, etc.))
  • 4.
    Heberling, Rikard
    University of Arts, Crafts and Design, Department of Design, Interior Architecture and Visual Communication (DIV), Graphic Design & Illustration.
    “död åt versalerna!”: när alfabetet blev ett ideologiskt slagfält2018In: Svenska Dagbladet, ISSN 1101-2412, no 1 aprilArticle in journal (Other (popular science, discussion, etc.))
  • 5.
    Jonsson, Linnéa
    University of Arts, Crafts and Design, Department of Crafts (KHV), Ädellab (Jewellery and Corpus).
    THE REACH2018Independent thesis Basic level (degree of Bachelor of Fine Arts), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    We walk through most of our everyday life without constantly thinking of what we are doing in that exact moment. I mean, that would be absolutely exhausting. Left foot, right foot, left foot, right foot. Hand to cup, grab, lift and onwards to the mouth. But what is interesting is that we refer to these actions and doings as nothing. They seem to have no value to us at all. What have you been doing today? Nah, nothing. Nothing at all. As well in our commute to work. Sometimes we step onto a bus or train and when we take off our coat at work we almost don’t even know what happened between point a and point b. Does it seem familiar?  My work has come to evolve around our everyday routines. How in those moments of unconscious nothingness we actually do so many things and most of all encouter so many objects. When we walk through a door, pick up a tool, open a box, we grab a handle and the bodily encounter is made through the hand. I’ve come to explore how it seems that the hand has its own life when we are in this state. How the objects in our everyday call for the hand, directs the hand, makes a choreography for the hand. I have recorded the hands movement in different media in order to get a new view of something familiar and try to find new realities to what we think we know.  What happens when the hand and a handle meet in a routine? What does it actually look like? Why is it important to become aware of?  I believe by changing our attitude to things in our environment, we can also change the attitude to people around us. Changing perspectives on the most ordinary everyday chores can generate new thoughts about the commonplace and like the butterfly effect also create a more permissive society.  

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  • 6.
    Kapadia, Ninna
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Interior Architecture & Furniture Design.
    Re-Story: The O.T.M.I* project*O.T.M.I = Obsolete Technical Mechanical Item2015Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    The core question in this master thesis is: What happens to the essence of an object when it becomes out of date and is no longer in use? I am addressing the sense of dignity in once meticulously designed technical/mechanical items that now has become obsolete. The intention has been to investigate how to give new meaning to obsolete items and find new eligibility for their existence. 

    The investigation was conducted through the development of a method: collection, analysis, deconstruction, investigation and resurrection of a number of O.T.M.I. (Obsolete Technical Mechanical Items).  

    The resurrection process consisted of the (re-)writing of the objects’ narratives. These stories along with the objects’ parts, spaces and sounds created a frame for a scenography, a soundtrack and characters to act in a film to tell the story.

    As interior designers we have the opportunity to transform space and fill it with stories. Imagination is an important tool: We benefit from having the ability to imagine, for instance, how different surfaces will reflect sound and light. Our imagination is highly visual. So I have transformed my imaginary world of Obsolete Technical Mechanical Items to visual and audial elements that support the content and values of a story through researching the objects, finding how to clarify and support the story. The Re-Story.

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    Re-Story The Movie
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    Re-Story The Autopsy
  • 7.
    Kristoffersson, Sara
    University of Arts, Crafts and Design, Department of Design, Interior Architecture and Visual Communication (DIV).
    Ikea: Massproduced National Design Identity2018In: Design Roots: Culturally Significant Designs, Products and Practices / [ed] Stuart Walker, Martyn Evans, Tom Cassidy, Amy Twigger Holroyd, Jeyon Jung, London: Bloomsbury Academic, 2018Chapter in book (Refereed)
  • 8.
    Kristoffersson, Sara
    University of Arts, Crafts and Design, Department of Design, Interior Architecture and Visual Communication (DIV).
    IKEA 이케아: Design by Ikea2015Book (Other academic)
  • 9.
    Kristoffersson, Sara
    University of Arts, Crafts and Design, Department of Design, Interior Architecture and Visual Communication (DIV).
    Ingvar Kamprads ande fortsätter sväva över Ikea2018In: Dagens nyheter, ISSN 1101-2447, no 29 januariArticle in journal (Other (popular science, discussion, etc.))
  • 10.
    Kristoffersson, Sara
    University of Arts, Crafts and Design, Department of Design, Interior Architecture and Visual Communication (DIV).
    イケアとスウェーデン: 福祉国家イメージの文化史2015Book (Other academic)
  • 11.
    Kristoffersson, Sara
    University of Arts, Crafts and Design, Department of Design, Interior Architecture and Visual Communication (DIV).
    宜家的设计·一部文化史 平装: 一部文化史 平装2017Book (Other academic)
  • 12.
    Mehra, Sameeksha
    University of Arts, Crafts and Design, Department of Crafts (KHV), Ädellab (Jewellery and Corpus).
    Traditions and Transformation2019Independent thesis Advanced level (degree of Master (Two Years)), 80 credits / 120 HE creditsStudent thesis
    Abstract [en]

    Traditions that shape our identity and beliefs are constantly undergoing transformation through our interactions with new cultures. At the same time, these interactions enhance our awareness of where we come from, and where we truly belong. In this thesis I investigate the history of jewellery in India through a contemporary perspective and interpretation. My project narrates my transformative journey from the rich tapestry of Indian traditions towards the contemporary western culture. The subject of Indian jewellery is vast and complex, the enquiry is just the beginning of the journey. Therefore, my goal is to discover linkages between the age-old traditions and the fast-changing world of today. I create a dialogue between traditional, ritualistic Indian jewellery and an irreverent choice of materials and methods that have been conceived from my experiences in the West. Through this dialog, I explore the push and pull between traditional ethos and modern sensibilities, and the transformation it engenders.

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  • 13.
    Nordin, Marie
    University of Arts, Crafts and Design, Department of Visual Arts and Sloyd Education.
    Teckningsrevolt: Förändringsprocesser i teckningsundervisning med 68-vågen på Konstfack2018Independent thesis Advanced level (professional degree), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    This study takes its starting point in a shift identified at the Teacher Institute of Drawing (Teckningslärarinstitutet - TI) within the Konstfack School of arts and crafts in Stockholm at the time of the wave of radicalism that took place in about 1968. Changes in the drawing instruction at TI have been examined through interviews with former students at the institute, student fanzines and archive materials relating to the restructuring of the Konstfack School during the 1960s. Here, it emerges that the curriculum previously focused largely on aspects of form in the mastery of tools used to produce images. After 1968, however, the drawing education became substantially more theoretical. It came to focus more on discussing pictures and images and understanding the societal functions of drawing, which were emphasized more than students’ own creative work. During the period studied, subject categories were also restructured, with new constellations arising and the boundaries between different media becoming more diffuse. Ingredients in these changes included photographic media, analyses of mass media and a critical questioning of an autonomous artistic domain. A disrupted balance in power relations at the school, with students questioning established norms, contributed to this new orientation. 

    In a creative process, accompanying the research, I have engaged in practices of picturemaking no longer included in the training at the current Department of Visual Arts and Sloyd Education at Konstfack, evolved from the former Teacher Institute of Drawing. This work could be described as a form of experimental archaeology, in which I have reflected on how practices might tread new paths when excluded from a previous context. I tested a method of free expression in painting and practised life drawing. I produced a large sculpture, to afford space for creating with physical materials. I also investigated drawing as a basis for other forms of pictorial expression, such as sculpture. The experience of this process enhanced my understanding, contributing an independent comment on the theoretical and historical investigation. The result is a monument in the form of an installation, constituting a tribute to the historical profession of drawing teacheresses.

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  • 14.
    Stampe Ödman, Vilde
    University of Arts, Crafts and Design, Department of Design, Interior Architecture and Visual Communication (DIV), Interior Architecture & Furniture Design.
    Att ställa till med en scen2017Independent thesis Basic level (degree of Bachelor of Fine Arts), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    My degree project begins with questions formulated around the ability, or inability to take and make space in the city and how taking place can create change.

    By staging (making a scene) using the strategies, taking care, being present, and taking space, I want to explore, make visible and set in motion shared place-making in our common rooms.

    I have started in seemingly* abandoned places and in temporary rooms: Because the seemingly abandoned only appears to be unused and can, with a little imagination, be made into what is needed for the moment. Because traces that are left behind become mysteries, possible futures and dreams of the adventures of others. Because the desire to take the stage sometimes requires moments of empty stages. Because the act of sharing also means taking turns.

    With seemingly abandoned I mean places that sometimes appear unused, but are not. Places with traces of past activity and inspiration to future happenings.

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  • 15.
    Åkerstedt, Sofia
    University College of Arts, Crafts and Design, Institutionen för Bildpedagogik (BI).
    I stort sett handlar det om likes: En studie i hur normer och beteendemönster ser ut och skapas för användandet av Instagram2014Independent thesis Basic level (degree of Bachelor), 20 credits / 30 HE creditsStudent thesis
    Abstract [sv]

    Det här examensarbetet handlar om ungdomar 16-19 år gamla och deras relation till sociala medier och då med fotoappen Instagram i fokus. Den bygger på en undersökning i två delar; en intervjudel med informanter för att se hur instagramdiskursen ser ut, hur de använder sig av appen, tolkar och tänker och en observationsdel där jag tagit del av samma informanters bilder på Instagram. Jag tittar på hur användaren formas av Instagram och hur Instagram formas av användaren, på vilket sätt informanterna förhåller sig till bildtexter, hashtags och om intervjudelen skiljer sig från den observerande delen. Kan man finna en större och djupare mening med detta populärkulturella tidsfördriv där vi förväntas publicera vardagsbilder eller hur används det? Jag vill i den här studien kartlägga de normer som formar ungdomar 16-19 som använder sig av Instagram, de mönster som finns för användandet och se det ur Image – Picturesynvinkel, där picture står för bilderna enskilt och image är helhetsbilden de ger tillsammans genom frågeställningen:

    Hur ser normer och mönster ut för användandet av Instagram bland gymnasieungdomar?

    Syftet med undersökningen är att bättre förstå vad vi gör med sociala medier och vad dem gör med oss. Vad gör Instagram med användarens självbild och de normer för hur en ska vara och leva, påverkas vi eller går det oss förbi precis som vi tenderar att scrolla förbi händelser och bilder på sociala medier? Skulle man kunna/är det lämpligt att interagera med Instagram i bildundervisning och i så fall på vilket sätt? Resultatet av undersökningen stämde inte alls överens med de tankar och föreställningar jag inledningsvis hade. Istället för att tala om parallella världar, dubbla identiteter med ett sociala medier-jag och ett IRL-jag så vittnade många av informanterna om att de inte kunde frångå sitt IRL-jag på sociala medier för att det då skulle uppfattas som avvikande och konstigt. Även om det finns ett beteendemönster som anses vara okej så får individuella spelregler utformas som att hålla en viss redigeringsstil eller inte gilla/like förrän tio stycken före gjort det, då försvinner nämligen namnen på de som gillat en viss Instagrambild och ersätts med ”11 likes”.

    Min undersökning gestaltades på Konstfacks vårutställning 2014 i ett brädspel baserat på det sociala spel som återfinns på sociala medier och Instagram. Spelet är konstruerat och framtaget tillsammans med två kurskamrater vars undersökningar behandlar närliggande områden.

    Josefhine Olsson Forsström – Onstage/Offstage, om representationer och tillhörigheter på kollisionskurs och Mia Widoff – Jag syns alltså finns jag! En studie i hur ungdomar kommunicerar på sociala medier och hur stor vikt de lägger vid bild- och skriftskapande i interaktion med andra.

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