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  • 151.
    Bonnevier, Anna
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Textiles.
    Rapporter2002Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 152.
    Bornhall, Marie-Helen
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Projektarbete "Kummelby kyrka"1995Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 153.
    Borselius, Stefan
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Interior Architecture & Furniture Design.
    Volvo EC: profilering av ett varumärke genom en möbel2002Independent thesis Basic level (degree of Bachelor), 10,5 credits / 16 HE creditsStudent thesis
  • 154.
    Boström, Cecilia
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ceramics & Glass.
    Servisglas2001Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 155.
    Boström, Eleonor
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ceramics & Glass.
    Min hundfigurinservis: figuriner som hundar, porslin i process, dokumentation av brukande, historik, servis i dukning. Dröm dig tillbaka till den tiden då verkligheten ännu inte var så självklar. Kunde hundar prata?2010Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Alltsedan jag fick min första figurin som sjuåring, har figuriner varit en värld fylld av förundran för mig. Mitt kandidatarbete består av en dukning. Den kommer att innehålla skulpturer med funktion och skulpturala bruksföremål. Stor inspiration till arbetet har jag funnit i porslinets historia och i minnen jag har av finserviser och figuriner. Min kandidatuppsats är uppdelad i tre delar. Den första delen kommer att handla om porslinets historia, då framförallt 1700-talet. Porslinets återupptäckt i Europa. Varför jag valt att ha med den europeiska historiska grunden till porslin är för att jag tidigare glänta på den och nästintill funnit den magisk och sagolik. Detta ville jag ha med i arbetet. Andra delen i uppsatsen kommer handla om min relation till porslin. Tredje delen i uppsatsen handlar om själva gestaltningen jag kommer att göra i verkstan, arbetets process. Jag har valt att inte ha med samtida konstnärer i min uppsats för att för mig har arbetets fokus legat på porslinets historia, min gestaltning och min process i förhållande till det. Så vilken relation har uppsatsen till gestaltningen? Och hur använder jag mig av skrivandet? Jo jag använder skrivandet för att beskriva min process och komma den närmare. Också för att förstå mig själv bättre, hur min tankeprocess ser ut och hur det praktiska mötet med materialet kan te sig för mig.

  • 156.
    Braakman, Moa
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Interior Architecture & Furniture Design.
    Terapeutiska rum i vårdmiljön2014Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Att vistas på sjukhus eller andra vårdinrättningar innebär ofta en del påfrestningar, både fysiskt och psykiskt. Kan vårdmiljön hjälpa till att lindra och på sikt minska den stress och ångest som kan uppstå i samband med vårdvistelsen?

    Detta har jag undersökt i mitt arbete, där syftet varit att utforma rum för återhämtning och socialt umgänge - rum som avviker från den ordinarie vårdmiljön.

  • 157.
    Bramsell, Lisette
    et al.
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Interior Architecture & Furniture Design.
    Winéus, Emma
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Interior Architecture & Furniture Design.
    Ensamhet: ett möbelprojekt2007Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
    Abstract [sv]

    Vi har i vårt examensarbete valt att designa möbler utifrån ämnet ensamhet.

    Möbler som i sitt formspråk uppmanar människor till att ta kontakt eller bara i sin utformning utstrålar styrkan i ett materialmöte eller en teknik där två svaga länkar tillsammans blir starka. Vi kände tidigt att vi inte kunde lösa problematiken ensamhet men det var viktigt för oss att belysa att det faktiskt är ett samhällsproblem idag.

  • 158.
    Brandt, Christian
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Graphic Design & Illustration.
    A, B, SEE — 1, 2, TREE: om konsten att se det som är osynligt för andra2010Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
  • 159.
    Brandt, Henrik
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Smycken / objekt och uppstoppade djur2001Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
  • 160.
    Breiler, Jill
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Interior Architecture & Furniture Design.
    "Icke rum"2008Independent thesis Advanced level (degree of Master (Two Years)), 30 credits / 45 HE creditsStudent thesis
    Abstract [sv]

    Jag har valt att i detta master 2 examensarbete inom Inredningsarkitektur och Möbeldesign arbeta med lägenheter i ett planerat flerfamiljshus. Som blivande Inredningsarkitekt (IA) vill jag ta ett kliv tillbaka, betrakta och analysera vad det är som är viktigt för ett hem och vår totala miljö. Med total miljö menar jag psykisk miljö och fysisk miljö.

    Genom att studera rum och deras funktioner utifrån olika behov, hoppas jag finna nya innovativa lösningar, samt möjligheten att reducera energiförbrukningen i hemmiljö.

    Områden som berörs och flätas samman i mitt examensarbete är: bättre förutsättning att odla grönska, ökad återvinning, reducerad värmeförbrukning, alternativ till uppvärmning, miljövänlig energi samt psykologiska mervärden i lägenhetens plan som kräver problemlösning och upptäckarglädje. Den gemensamma nämnaren är, vår totala miljö.

  • 161.
    Brovia, Beatrice
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    On initiation: eulogy of the closed door, of the amputation and the cut off2009Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
  • 162.
    Brunstorp, Jimmi
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Interior Architecture & Furniture Design.
    Gallery Wall2014Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
    Abstract [sv]

    För vissa är graffiti konst, för andra är det ett tecken på förlorad kontroll. För mig är det ett redskap för att mötas.

     Jag har delat in mitt examensarbete i två delar. Den första behandlar visionen jag baserat mitt arbete på. Den andra handlar om design och placering av de fysiska paviljongerna.

     I den första delen har jag utgått ifrån ett scenario där den fysiska arkitekturen återspeglas i ett virtuellt gallerisystem jag get namnet Gallery Wall. Denna del finns bara på idébasis men har varit utgångspunkt då jag formgivit mina paviljonger.

     Jag har skapat fem olika paviljongstyper som tillsammans på ett teoretiskt plan utgör en och samma virtuella huvudform.

    I, eller rättare sagt på, paviljongerna ges tillfälle för vem som helst att måla och presenteras sin gatukonst.

     Min förhoppning är att mina paviljongtyper skall inspirera andra att bygga egna varianter som alla är del av Gallery Wall. Systemet är tänkt att vara open source.

     Jag vill också med mitt arbete ifrågasätta och belysa vad som får visas upp och värdesätts inom konstvärlden och i samhället.

     Mitt examensarbete är baserat på en dröm som förhoppningsvis i framtiden blir verklighet.

  • 163.
    Bryggare, Katarina
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Textiles.
    Hundra sånger för Dalarna2008Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
  • 164.
    Bryggare, Katarina
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Textiles.
    Mitt dalska hjärta2006Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 165.
    Bryngelsson, Susanne
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Industrial design.
    Sjöodjuret: en automatisk poolrengörare2008Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Sjöodjuret är en helautomatisk, självuppladdande poolrobot gjord för att förhöja upplevelsen av poolen. Formen är inspirerad av vattenlevande djur och idén kom ursprungligen från tanken att förvandla en fiktiv varelse till en kommersiell produkt. Genom att jobba med en balans mellan individ och produktuttryck har jag försökt skapa en produkt som känns mer som en hjälpsam varelse än en städmaskin. Detta utan att göra avkall på användarens behov. Mitt syfte har varit att skapa en emotionell upplevelse av en “hardcore” industridesignprodukt.

  • 166.
    Brålander, Emma
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Interior Architecture & Furniture Design.
    Ett rum att tala i2015Independent thesis Basic level (degree of Bachelor), 12 credits / 18 HE creditsStudent thesis
    Abstract [sv]

    Utifrån min egen scenskräck skapar jag ett rum att tala i.

    Jag vill göra ett tryggare rum där jag jobbar med mötet av blickar, viljan att kamouflera sig och hur mjuka material ger oss en lugnare inställning.

  • 167.
    brålander, emma
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Interior Architecture & Furniture Design.
    illusion färg komposition2017Independent thesis Advanced level (degree of Master (Two Years)), 80 credits / 120 HE creditsStudent thesis
    Abstract [en]

    By working with color and composition I convert flat surfaces

    to three-dimensionality and the other way around.

    By distorting the space,

    my aim is to confuse the viewer of what they perceive.

    I want to blur the borders between color and object

    to evoke a curiosity to experience my space. 

  • 168.
    Bucht, Elin
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Interior Architecture & Furniture Design.
    Why so serious?: Frivola rum och lustfyllt skapande2017Independent thesis Basic level (degree of Bachelor), 5 credits / 7,5 HE creditsStudent thesis
    Abstract [sv]

    I det här kandidatexamensprojektet har jag valt att undersöka lustfyllda och lekfulla miljöer och hur man som inredningsarkitekt kan arbeta som lustfyllare istället för problemlösare.    

    Jag har parallellt i mitt arbete undersökt hur en lustdriven arbetsprocess skulle kunna te sig och försökt hittat verktyg för att hålla en process prestigelös. 

    Med hjälp av min arbetsprocess har jag hittat metoder för att analysera rum. Via analyserna har jag kommit fram till några designprinciper som förklarar vad lustfyllda och lekfulla rum bör innehålla.

    Avslutningsvis presenterar jag ett förslag på ett litet rum/en stor möbel som med sin form och uttryck skall locka till lek både för barn och vuxna. 

    Syftet med projektet har varit att förstå något mer om människors interaktion med arkitekturen och vad som skapar upplevelser.

  • 169.
    Burchardt, Roberta
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Narratives of corporality: a small personal collection2010Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    There is great truth to be found in the thought that whatever I do today, will never come close to what I will do tomorrow. It is within the simplicity of such thought that we foresee the build-up of the being through the body and experiences lived by the body.

    The present work is an attempt at sharing a personal research over the topic of the body through a contemporary perspective. The body as performatic tool for the understanding and interconnection of art and life is the prerogative for the dialogue proposed here.

    Through the study of some writers and artists, a personal language comes forward and presents a text to be read fully or partially: as a whole or as fragments.

  • 170.
    Burman, Siglinn
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ceramics & Glass.
    Presens: i rörelse och skiss2011Independent thesis Basic level (degree of Bachelor), 15 credits / 22,5 HE creditsStudent thesis
    Abstract [sv]

    Tyngdpunkten i mitt pågående arbete ligger i det vi kallar ”nutid”.Det är inte nutid som samtid, utan det är nuet som fenomen jag intresserar mig för, gestaltar och undersöker.Jag är nyfiken på om det ens är möjligt att fysiskt eller materiellt synligöra ett pågående nu. Hur kan förflyttningar, förändringar och rörelser i ett ”nu” gestaltas? Är det möjligt att fånga, greppa och begripa nuet? Dessa frågor har blivit mer och mer betydelsefulla och centrala under det pågående arbetet.Ett flertal olika spår och ingångar till ämnet har fallit undan och sållats bort under arbetsprocessen. Det återstående, aktuella arbetet har vuxit och breddats och hittat nya riktningar.Mitt tillvägagångssätt i det praktiska har främst varit att teckna och filma i stop-motion-teknik. Jag har sökt efter motiv och företeelser där nuet blir så påtagligt som möjligt.Förutom olika filmexperiment har jag skriftligt formulerat tankar och reflektioner under det att arbetet pågått. Jag har också samlat på mig texter som inspirerat och breddat mitt arbete. Några utsnitt av dem finns med i denna skriftliga redovisning.Det blev min metod att använda mig av så olika arbetssätt och hitta så olikartade infallsvinklar på temat som möjligt.Jag började ringa in och från olika håll beskriva det svårfångade fenomenet NUET.Genom mitt konstnärliga undersökande har jag inom andra områden hittat paralleller till det jag utforskat. Jag såg släktskap och likheter både i innehåll och i tekniskt utförande.Det är min ambition att lyfta upp och visa några av dessa sammanhang i denna rapport, men framför allt kommer jag att beskriva och berätta om det filmprojekt som kom att stå i fokus.

  • 171.
    Butucariu, Diana
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ceramics & Glass.
    Habits and Habitats: Crafting Through a Prism of Culture Shock2014Independent thesis Advanced level (degree of Master (Two Years)), 10 HE creditsStudent thesis
    Abstract [en]

    This is a text about a work of art, “The Room”, and about the process that brought it about. The process includes experiments in clay bodies, mixing different elements with the base clay in search of a material both suitable to work with in terms of texture and color, but also rich in less tangible qualities, as I mix in elements which carry a set of values of cultural identity.

    The text follows the path towards development of the final piece during the two-year course of the master program at Konstfack. During these two years, external factors such as dealing with the issues of culture shock, and searching for a place to live, interfere with my way of thinking, leading to unexpected turns in the direction of my artistic process.

    Searching for an apartment finds me standing in strangers' apartments as they sell their homes, their ways of life and their house rules. These sometimes awkward meetings provide a good starting point in my research of people's habits and habitats. In trying to understand some elements of Swedish culture, I become aware of the fact of my own culture and start thinking about it from an outside perspective.

    Eventually, the central question of the essay crystallizes: Who will carry on the traditional craft techniques of my home country? Romania is the rare place in Europe where crafts are still being practiced as they have been for hundreds of years, in the villages by crafts persons leading traditional lives.

    As the villages are emptied of young people, moving into cities, and as Romania as a whole is drained of a large part of its young and ambitious generation, moving to other European countries for jobs and education, a trend that I am of course part of, the traditions that I have taken for granted, growing up with my grandmother in a traditional village, become threatened.

    The answer to the question is a simple as it is demanding: I have to be part of the future of Romanian crafts. To document them, understand them, and incorporate them in my art. For this purpose, I undertake an investigative research trip. The text presents my findings about the crafts, and about the people working to document and preserve the traditions. The research trip is also presented in the movie “Six days in Romania”, which I include as an appendix to the essay.

    Over the course of two years, several short-term art projects have been completed within the master program. They are presented in the form of an interview with myself. Looking back at these projects, they become explained as necessary steps in preparation for the final piece, a viewpoint very different from the utter confusion that was the dominating feeling of at least the first year of the course. The interview tries to give insight into the non-linear process that is the creative work.

    Finally, in a poetic description of the final piece, I let my art speak for itself in a very literal way. In giving voice to the piece, I try to access truths hidden even to myself, in an effort to be as transparent as possible about the value of my efforts. 

  • 172.
    Bylund, Jonas
    et al.
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Industrial design.
    Enqvist, Andreas
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Industrial design.
    Ögren, Björn
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK).
    Design genom storytelling2005Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
    Abstract [sv]

    Vår övertygelse är att en av de viktigaste budbärarna för ett företags identitet är produkterna och att ett långsiktigt varumärkesbyggande sker genom att knyta emotionella band mellan konsumenterna och varumärket. Detta handlar främst om vad konsumenten upplever när produkterna används.

    Vår målsättning var att bättre kunna förstå helheten runt användarupplevelsen och branding och därigenom skapa bättre verktyg för detta i vår designprocess. Målet var att komma fram till slutsatser kring hur vi som designer kan angripa dessa frågor på ett kreativt sätt.

    En stor del av vårt arbete har behandlat området branding i förhållande till design, men vi har även berört vissa områden som psykologi, innovation samt kreativa arbetsprocesser.

  • 173.
    Bäccman, Malin
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Havet2003Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 174.
    Bäccman, Malin
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Vem är normal?2006Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    My project is about attitudes towards disabled people, about our fear for those who are different, about acceptance, ideals and normality.My inspiration has been prosthesis, and mostly people that are born without limbs. Through my research I have come across a lot of questions. Such as, why is a prosthesis so important and for whom? Why is it so important to be normal? What is normal and for who? People that are born different se upon themselves as normal, until they realize that others don’t. Many of them want to learn how to deal with life without prosthesis. And therefore they reject these. Sometimes the prosthesis is aids that are highly necessary. But they are also a way to blend in. When someone get severely ill or are born with a defect the society want to rehabilitate this person at any price. The goal is not to make the disability to something that you accept but something you should cure. This is of course necessary in some cases and I believe that we do this with the best of intentions. But sometimes we do this because we don’t believe in being different and the strive to be the “ideal-human being” is an obsession for us. The “ideal- human being” that nobody ever can be and especially not those with a disability. What is normal has change from different epochs and are different in different cultures. We learn what is normal and not normal, what are acceptable and about values so we can survive in our society. It is a social construction and it is safe. This safety can be a problem when it comes to be able to understand and accept that there are people that look, think and acts in a different way. It can be a seed for prejudices.During this project I realized that this is not only about visible disability. It is about hidden disability and that concern all of us.I believe that we all have some kind of disability. It is a matter of definition. We have to learn how to live with, accept and appreciate what is ugly, odd, unpleasant and unique. It is about values and to reassess.

  • 175.
    Bäck, Beata
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Interior Architecture & Furniture Design.
    Åter: ett möbelprojekt genom återbruk2009Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Återvinningsstationer, containrar och grovsoprum kan vara riktiga guldgruvor för den som vågar dyka ner. En otymplig container på andra sidan gatan kan få mitt hjärta att börja bulta. Att häva sig upp och kika ner; spänningen! Tillfredställelsen när man hittar en gammal teakbyrå eller ett köksbeslag. Räddar det från sitt öde i avfallskvarnar och värmeverk.

    När förlorar en möbel sitt värde?

    De bortkastade möblerna bär på historier, minnen, spår och ledtrådar. Värden, som måste skapas på nytt varje gång en möbel produceras, finns redan i ett nött svarvat bordsben, en lucka eller en vickande stolsrygg. Jag vill plocka russinen ur kakan och skapa nytt liv av det gamla. Rädda, spara, ta tillvara, omvärdera, laga, kämpa. Återuppliva möbelliken! Av respekt för de kastade möblerna, deras formgivare och deras tidigare ägare. För att visa andra vad jag ser.

    En skatt som kanske går förlorad.

    ------------------

     

    Återbruksprojektet ÅTER är ett kandidatexamensarbete i Inredningsarkitektur och Möbeldesign på Konstfack utfört av Beata Bäck våren 2009. Arbetet undersöker återbrukets möjligheter att skapa ”värdeladdade” objekt.

    Syftet är att gestalta nya möbler av kastade möbler. För barn. Och vuxna.

  • 176.
    Carlson, Helen
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Textiles.
    Var går gränsen?2009Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
  • 177.
    Carlsson, Magnus
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Textiles.
    Action fashion: en film2005Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 178.
    Carlsson, Magnus
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Textiles.
    Magisteressä2008Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
  • 179.
    Carlsson, Melina
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Textiles.
    Regression confession2010Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 180.
    Casta, Maline
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Graphic Design & Illustration.
    Not Playing By The Rules2014Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    My degree project consists of several parts: a theorethical essay, sketches, modells, photos, experiments and an installation showed at Konstfack Spring Exhibition 2014.

    Departing from the infamous Fredric Jameson quote ”It’s easier to imagine the end of the world than the end of capitalism” I have investigated the relationship between play, daydreaming and economical system.

    Political scientist Wendy Brown has argued that we exist at a time in history where we have an urgent need for alternative spaces, both in the physical room and in the mind, where an alternative longing can grow. In my degree project I have taken a closer look at this space – what could it be, how does it work, what would it look like if it was made real?

    By exploring play theory I try to understand how and if play can be triggered and how this can be translated into a space. By deepening my knowledge about imagination and the relation between imagination and social development, I try to seek answers to how play can be used as a starting point for change. By treating play as a space in a double sense – both as a physical room and a special place inside us, I explore the possibilities this space has for creating new dreams.

    This is also a project where I try to restore my own belief in storytelling as something beyond escapism. Aiming to create an in-between, a fusion between scenography, illustration and installation, I seek to create a platform where my work can be the basis for new discussions and meetings. By exploring the performative elements of a room I want to invite the visitor to enter the image and merge with the content. I want to create a work that embraces the visitor and that can be experienced on many different levels depending on the visitor’s interest, age and prerequisites.

    The essay consists of three parts. My project started with an analysis of the current economical situation. In the first part of this essay I make a summary of this research, and give a brief background to my experiences working in the gap of storytelling and economics.

    In the second part I will investigate the basic functions of imagination and play, and see how our longing is linked to the development of society.

    In the third part I will talk about the physical outcome of my project - my process, choices, difficulties and conclusions.

    For practical reasons I have choose to put all images in a separate appendix at the end. These images shows extracts from my artistic process as well as a documentation of the installation showed at the Spring Exhibition.

  • 181.
    Castiajo, Carla
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Martyrs: heroes in paradise2006Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
  • 182.
    Castro, Miriam
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Facts on human being & being human2009Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
  • 183.
    Cayli, Eray
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Experience Design.
    [Postmoderna museet]2010Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
  • 184.
    Ceder, Lotten
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Interior Architecture & Furniture Design.
    "Jag bor intill en korridor": ökad livskvalitet genom målgruppsanpassad inredningsarkitektur2010Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    I live next to a corridorI have embraced the challenge of raising the quality of living for elderly residents in nursing homes or care homes. Moving from one’s private home to a nursing home or care home means moving to a safe and secure home. But for many it is also a great sorrow to move from the home one has spent many years building up. The new living quarters need therefore to give a signal that one is moving on into a new and positive phase of one’s life. The physical environment must stimulate the senses in a positive way, signalling care, creating security, happiness and well-being, and conveying a feeling of belonging. This project is limited to the corridor as an area that is a common spatiality as well as being an individual one. It should provide as good preconditions as possible for positive encounters between people and for the well-being of the residents.

  • 185.
    Cederqvist, Åsa
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK).
    Tankar ur en konstnärlig process, februari 2015: Att bli omsluten, uppslukad, upptagen av ett verk / en berättelse. Att ge sig hän.2015In: Radical Re Re Re Re Re Rethinking / [ed] Maria Lantz, Staffan Lundgren, Stockholm: Konstfack / University College of Arts, Crafts & Design , 2015, 1 uppl., p. 64-69Chapter in book (Other academic)
  • 186.
    Cha, Minjeong
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Experience Design.
    The story, but a different story2011Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    This project started with my naive and utopian hypothesis: 'Is there any one experience, equally memorable for everybody, that affects people‘s ordinary lives in a meaningful way afterward?‘ To explore this matter from multiple angles, I needed a research location that already had strongly staged experiences with a clear theme, diverse actors, and its own narratives. And I hit upon the right place: Disneyland Paris.

    To discuss 'the experience‘, I categorized peoples‘ different impressions of their experiences at Disneyland Paris. When I interviewed staff and visitors on their way out of Disneyland Paris, some people said that their experience had been awful, while others said it had been fantastic. What makes for such different responses to the same place? Two theorists declare, 'Experiences are inherently personal and no two people can have the same experience, because each experience derives from the interaction between the staged event (like a theatrical play) and the individual‘s state of mind‘ (Pine Ⅱand Gilmore, 1998). Since the individual‘s state of mind cannot be grasped and is a broad research term, in this thesis I am mostly concerned with the key experience-generating elements: age and social role.

    The ultimate purpose of this project is to investigate the pre-and post-experience at the entrance and exit of a given venue for a special experience with a clear theme, that bridge connecting visitors‘ and staff‘s everyday experiences to the staged experience. The practical outcome of this research-led project consists mainly of various trials of a procession that engages visitors at the borders of the venue. This research will consist of the following: 1) Analytical reflection upon visitors‘ and staff‘s one-day experience in a Disney theme park, based on narrative structure and perception of time, 2) Observations of different time perceptions in adults and children, 3) Definition of flow of experience (pre-experience / main experience / post-experience), and 4) Presentation of a new model of participatory stories in a given theme1 to smooth the flow of experience.

    1Disneyland Paris was my chosen site for the theoretical background, and the practical methodologies are developed through Konstfack‘s 2011 spring exhibition. What this project intends to do, however, is not to upgrade the experiences in both, but rather to focus on the experiments in order to vary the existing definitions of the flow of experience. The final outcome is intended to be applied to the diverse venues that aim to offer their visitors special experiences with a clear theme.

    This has been an in-depth exploration of how experience design can be applied as a renewing force, or 'twist‘, to help people experience immersive moments and to gain unforgettable memories which, in turn, influence their future experiences.

  • 187.
    Chamoun, Georges
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Habitus - ett arbete om klass2013Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

     

    Why is it that we still live in a society where an individual's social background plays such a big part in their chances of reaching a higher education? Despite the numerous educational policy reforms, especially in Sweden, it still seems that an individual's career choices are pretty much related to what kind of social class they grew up in.

     

    Sociologist Pierre Bourdieu claimed that social class is reproduced in the school system, and that students from the lower classes are much less likely to reach a further education than students from the middle or upper classes due to injustice in the school system.

     

    One thing that plays a big part in this "Catch-22" situation is the concept that Bourdieu calls habitus. Habitus could be explained as an individual's taste, knowledge, ability to master the spoken language, etc. Your habitus is manifested in the choices you make, the music you listen to, how you dress and the way you speak, and it determines your relation to the education system and life in general.

     

    As part of my essay, I wanted to interview students from lower or working class at my school, Konstfack, to see if they have had any negative or positive experiences from their encounter with a higher education. And if so, could they be linked directly to their social background?

     

    As a reaction to my own and my interviewees’ experiences and frustration, I use the concept of habitus in my practical work. Playing with class stereotypes, I load my wearable objects with different kinds of constructed "working class habitus". In placing these objects on a stereotypical image of the upper classes - those who are the most privileged in society and the school system - an interesting juxtaposition occurs between the wearer and the object.

     

    What happens when you are forced to experience a habitus that is not yours?

  • 188.
    Chan, Vivian
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ceramics & Glass.
    A Museum Guide to Chan's Cabinet of Curiosities (or your 15 minutes of fame)2011Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    My work involves the creation of an experimental space in order to explore how contemporary craft can be reframed within the artistic institution. In this space, a facilitated exchange of displayed objects will occur, where the audience will have the chance to participate in the development of my project. It is important to note that my work will carry itself out in exactly this order: theory, practical work, and then audience participation.

    The initial decision to create this experimental situation, stemmed from my interest in challenging the traditions which define the artistic institution, especially in relation to craft.My paper will therefore be a method of contextualization and through the analysis of the institution, the craft object, and collecting practices, I will provide a background for why I believe, institutional experimentation should occur. The next phase of the project is practical work in the studio, where the original objects for this project will be created. The objects will be governed under the criteria of being either in ceramics or glass, and will be personally handmade, hand-chosen, and/or hand-altered, all serving as a statement of contemporary craft, seen through the eyes of a student/craft-practitioner/artist living in Sweden from 2009-2011. The last part of the project will take place after the examination, when audience participation occurs. The interactivity of my work and subsequent action of exchange will not only readjust my vision of contemporary craft, but it will also serve as a model of how material culture can shift based on contributory democracy.

    Through my work, my main aim is to challenge the potential of many things- from the definition of craft and its contemporary representation, to the formation of material culture, to the role of the artistic institution, to the democratization of art and trust in audience participation. My hope is that many questions surrounding these topics will be answered, but also that many more questions will be raised.

  • 189.
    Chartsiri, Chamaikarn Pai
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Textiles.
    Sitting with The Fisherman2015Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    The scene of a local motorcycle taxi driver hand-knitting a small fishing net at his stand next to a canal will never fade away from my childhood memory. It was the first time I saw the life behind the fishing net. Throughout my textile practice, I’ve reconsidered the fishing net with curiosity and nostalgia. Behind its mesh and diamond shaped structure, I see craftsmanship and the story of its creation. I would like to preserve and encourage these precious values in the net with my Master project Sitting with The Fisherman. The fishing net is reinterpreted to everyday life with a trace of stories within it. The net becomes a tool to gather people together like the fishing net does in the fisherman village. This project will be a pilot idea to others in different contexts, to preserve their precious traditional craftsmanship, to keep it alive by transforming the skill and technique to a new interpretation.

  • 190.
    Checchi, Marco
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Interior Architecture & Furniture Design.
    Genius loci2005Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 191.
    Chen, Hung-Ming
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Interior Architecture & Furniture Design.
    Produce your own design: be your own producer2010Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    My project is not only about doing design but also about how to make it happen. Design should not remain as a sketch or prototype if you really believe in it. In reality, lots of barriers stop us to continue, such as financial preparations, safety regulations, production knowledge and also wholesale contacts and so on. These kind of things really terrify us. So, I wonder….. how hard will it be? Is there still a big barrier when every resource you can find is on the Internet? I gave it a try and I’m going to share my true story with you.

  • 192.
    Chen, Yusi
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Graphic Design & Illustration.
    A web spun inside my body2012Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    My project consists of a series of art works that are inspired by my own experiences of pain, both physical and mental. The visual style is dark, Gothic and creepy, but is still able to deliver my aesthetic.

  • 193.
    Cheng, Nicolas
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    The beauty of nothingness2010Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    If I relate beauty to nothingness, what happens? Is nothingness sort of an absence of beauty? Or it is portrayed by our culture and society, and, in such case, can I define this absence of beauty? Is it beauty that you cannot even catch? Is its appearance neutral, almost hidden?

    When we are born, we all have the same degree of beauty and purity, which is progressively lost as long as we start growing up. In a life span, we accumulate wrinkles, and defects and dirt which needs to be concealed in order to fit in certain social categories. But our bodies register all the marks, absorb all the signs and impurities, likewise filters.

    We don’t necessarly perceive our own dirt or impurities as disgusting, whereas, in the clash with the other, we automatically are ahsamed of it. Same way, we tend to regard the other’s dirt as disgusting, not our own, very private dirt.

    Dirt is matter out of place, so is ugliness. The stain must be cleansed, purified as it represents a threaten for beauty. It is subtracting clean space to beauty. We are part of a society that intimates us to clean up, shape up, hide your -very human- dirt under the carpet. But beauty, nor humanity, would not exist without that dirt. We do absorb impurities all life long. And that is what makes us what we ultimately are: humans. Dirt paradoxically works as a protection: the dirtier we are, the less afraid of getting dirty we will be.

    In the society we live in exist many difficulties when it comes to find an identity as humans and a position in it. We are often put in a situation of having to follow: a certain career, a living style, an ideology, somebody’s else opinion, what to consume, school systems. Etcetera.

    In such a society, and because of this “follower-like”, passive position, where we mostly have to repeat the same living patterns, it got harder and harder to retrieve the meaning of things and to understand where we come from. Who we really are. We tend to put on uniforms or masks to fit in different standardazied situations. Everything and everybody has to fit in its or his standard place. This way our intrinsic human beauty is concealed and somehow controlled.

    With my essai, I try to look under the carpet, undress, unmask and reach a new definition of beauty: a naked beauty, not concealed nor camouflaged. The beauty we all deeply share, unpretentious and honest. A beauty of nothingness: something I see or feel, but about which I keep wondering whether it is or it is not beauty.

    To develop such new definition of beauty, I recollect ideas and concepts of beauty from the past, with a main reference to western society: from beauty models in the ancient Greece, Apollonian VS Dionysian, to the Sublime, untill the present time. I try to define what purpose and non-purpose beauty is. What is ugliness and dirt and how they both are a prerequisites of beauty. I finally take a more personal look upon contemporary society and how its mechanisms define a beauty which is standard. It is starting from a reflexion about standard society and beauty, that I then define a more intrinsic human beauty. Such unevokable sensation of beauty is extremely subtle, hard to acknowledge: one needs to train ones eyes and go beyond the layers, to discover the beauty of nothingness.

  • 194.
    Cherian, Amandla
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Textiles.
    #amandlacherian2015Independent thesis Basic level (degree of Bachelor), 180 HE creditsStudent thesis
  • 195.
    Chifiriuc, Laura
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Experience Design.
    Suspended spaces: Designing architectural experiences through critical play2014Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    Suspended Spaces is an exploration of new territories for architecture practice, using an experiential approach in creating a tool for spatial awareness. The first part of the research brakes down the experiencescape by exploring the space of the sensorial, concepts on time behavior and the role that language plays in objectifying our experienced worlds. Through my experiments, I look at the ineffable properties of architectural experience while describing a practice that doesn’t see the building as the soul expression, and where purpose is not just about learned procedures. The second part of the research analyses the potential of critical play in exposing aspects of spatial experience that otherwise remain imperceptible in day-to-day life. Through experience prototypes and system design, I describe the process of creating an experimental board game that would enable players to construct spatial narratives using senses, emotions and irregular timelines. Architecture becomes nothing less than a way to reimagine how we could inhabit the world.

  • 196.
    Chintoh, Katarina
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Textiles.
    Franska knutar i Guatemala: ett samarbetsprojekt med mayaindianerna2000Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 197.
    Chirakranont, Ada
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Textiles.
    Tactility and the body experience2010Independent thesis Advanced level (degree of Master (Two Years)), 30 credits / 45 HE creditsStudent thesis
    Abstract [en]

    The ongoing project discusses how we as a society perceive and communicate through bodily experiences. The primary aim is to apply textile into a space and also to encourage people to use their senses when experiencing at design objects and spaces. The approach in this project is not meant to lead to a finish commercial product but rather to build up a spatial environment with textile materials and open up possibilities to use it. The challenge is for people to learn to let go of the stereotypes and think in an alternative way.

    This essay documents my journey from the starting point, describes the way I think and the process of work. This paper starts by giving the background to where it all began. Then it explores the tool I use to communicate, in this time is craft. There was a turning point during the experimental project I did which intended to apply textile to interior space. The upshot was how we as a society perceive and communicate through tactility. As time went by I learnt to narrow down my ideas and the work itself into one main consistent theme. As well as the work itself, the procedure is equally as important and was introduced into this essay. The forth chapter represents one illustration of how the concept can be applied. Finally is the summary of this journey.

  • 198.
    Cho, Kyuhyung
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Graphic Design & Illustration.
    Unwitting collaborator2011Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
  • 199.
    Cho, Young geum
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Performing Shell: The relationship between surface and substance2012Independent thesis Advanced level (degree of Master (Two Years)), 80 credits / 120 HE creditsStudent thesis
    Abstract [en]

    Through my study and observation of American jewelry house Tiffany, I could notice how the iconic

    little blue box contains not only jewellery but also the brand’s myth. The function of the Tiffany box, goes beyond what we normally associate with packaging as wrapping of a product. Therefore, I question what is the function of packaging in commercial culture.

    Tiffany’s little blue box not only is the container of jewellery but also of the whole Tiffany brand identity and myth. This brand’s myth is basically illusion. It legitimizes the story by itself. It’s the wholeness. It does not bring up any question, instead, we enjoy the fantasy it generates. To achieve one’s dreams of beauty, self-distinction and love, seems more possible by buying a piece of the brand’s myth.

    Visual language is commonly used to communicate a myth, since the sensual and artistic language

    is a persuasive tool when narrating desires and dreams. In this sense, Cindy Sherman’s collaboration with Mac and Marc Jacobs is a good example, which broadens the idea of the so-called ‘aestheticization in commercial culture’.

    The visual expression of brand myth, was displayed and it has developed into package in the present days. Nowadays, customers are "educated" by commercials to perceive the package as the symbol of brand myth. Packaging is regarded as being as significant as the actual substance of commercial products. Even more so, packaging has become more significant than the actual content. It is more important for brand companies that their customers remember where the product is from, than what it actually is.

    Since brand packaging has a strong connection with brand jewelleries, the shape of packaging is used as a symbolic language. Norman Weber’s work,

    ‘jewellery houses’, represents, in this sense, an evident example. Moreover, packaging and jewellery shapes have been used as a symbol of commercial culture; an example of this is evident in Jeff Koons’ works ‘blue diamond’ and ‘hanging heart’.

    Based on this notion, I combine jewellery and packaging in my work in order to make my own statement about the relationship between packaging and jewellery in commercial culture. I previously stated that packaging related to brand myth, has been growing to the extent that it became more relevant than the actual content in the context of commercial jewellery culture.

    With my artistic statement about packaging, I am at shaping a critical discussion on the overwhelming illusion of consumption related to brand myth in commercial culture.

    Keyword:

    Commercial culture, Aestheticization, Tiffany, Brand fantasy, Visual language, Packaging,

    identity, Alienation

  • 200.
    Christensen, Kajsa
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ceramics & Glass.
    Det ondas blommor: den andra naturen2011Independent thesis Basic level (degree of Bachelor), 15 credits / 22,5 HE creditsStudent thesis
    Abstract [sv]

    Jag är uppvuxen på landet och har tillbringat hela min barndom med en ständig närhet till naturen. Jag har alltid kunnat frossa i växters prakt och lovprisa dess skönhet. Min syn på naturen är minst sagt romantisk. I mitt projekt har jag utgått från mitt förhållande till naturen men i stället för att frossa i dess skönhet har jag velat arbeta mig bort från allt det som jag avgudar – en alternativ bild av naturen. Med det menar jag att jag vill visa en sida av naturen som inte är skör, gracil, vacker och trängtande. Jag vill inte förkovra mig i blads sirlighet eller blomsterknoppars skönhet som så många konsthantverkare/konstnärer före mig har gjort. Det jag vill visa är en motsatt bild av den vackra naturen, jag vill ge upprättelse åt en annan sida, låta den ha personligheter, hemligheter, jag vill visa den elak, listig, spretig, brutal och blodtörstig.                                                                              

     

    Jag bygger och skapar världar där blommorna och växterna spelar huvud­rollen, jag tänker att de samtalar över onda gärningar när mörkret faller, de skrattar åt oss och smider ondskefulla planer. De smyger i gräset och är inte rädda att visa sitt sanna jag. De är trötta på allt det som är tillrät­talagt och alla trista regler om hur naturen är och bör vara, bort med alla rabatter! De drömmer om att sprida sig till större ytor, att ta över hela rummet, sprida ut och sträcka sina blad och stjälkar åt all håll och bara frossa.

     

    Mitt konstnärliga arbete bygger på ett gestaltande av de här växtvärl­darna, där jag använder mig av stengodslera blandad med 20 % papper för att bygga upp världarna. Stjälkarna på de högsta blommorna är ca 1 meter höga. Jag bygger landskapen genom moduler; stjälkar, marken, växthuvu­dena bygger jag var för sig. Genom den här tekniken kan jag använda de olika delarna som ett pussel som jag sätter samman till en växtvärld eller flera växtvärldar. Växtvärlden är ca 1 1/2 m lång och 1 m bred, i format av en avlång ö. Under mitt arbete tänker jag mycket på hur växterna kommunicerar med varandra och med mig. Det är viktigt för mig att det bildas ett samtal mellan dem, där de berättar om sin onda, listiga värld. Jag raspar i leran och lämnar avtryck efter mina händer, jag skrapar mönster i leran för att ge dem liv och personlighet. Jag arbetar snabbt och metodiskt för att ge mitt arbete styrka och något precist men slumpartat. Jag vill bygga världar som får människor att bli indragna i en ny berät­telse, att luta sig framåt, att vilja titta närmare, skratta, att undra över hur den är gjord och vad växterna vill säga, vad är det? För mig är det ett sätt att bygga historier om form, humor och främmande världar

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