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  • 1.
    Abbevik, Elin
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Industrial design.
    365/4: en sneaker som följer användaren genom de 4 säsongerna2006Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 2.
    Abelli Bifeldt, Fatima
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Textiles.
    "Self-portrait"2014Independent thesis Basic level (degree of Bachelor), 180 HE creditsStudent thesis
  • 3.
    Abou Chakra, Rima
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Experience Design.
    The personal, the global, and the uncertain: Alternative design strategies for living with uncertainty2014Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    Can we change the way we imagine and relate to the risks of our common world, such as plastic pollution, nuclear threats, climate change or economic crisis? With this question at heart, this thesis discusses our interaction with the mediated, and often distant, global complexities and risks.

    Following the perspective of the spectator and consumer, this study weaves together literature with stories from culture, media, design and entertainment. It examines the relationship of the personal to the global by outlining five critical looking lenses focused on distance, emission, contact, disruption and invisibility.

    The resulting project articulates speculative design strategies for reconfiguring our relation to two select global risks; the nuclear contamination threat and plastic pollution. What if these scenarios were real, what if we felt these values, how would the world be different? By questioning the rational, these narratives aim to trigger the imagination of alternative possibilities, and requestion our current global dilemmas.

  • 4.
    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.

  • 5.
    Ackemar, Charlotte
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Interior Architecture & Furniture Design.
    An incomplete collection of fragments2013Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    This is a project about the method of collecting, exploring properties and finding out when an object changes to another. It takes its starting point from the analysis of my collection of intuitively chosen objects, or fragments as I call them, and my interests of how space and object relates to each other and us as human beings. The outcome of my project is a collection of pieces of furniture that wants to interact with you, letting you decide how you want to use them depending on how you perceive them.  

  • 6.
    Ackerman, Emilie
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ceramics & Glass.
    to continue / att ta vid: om glashantverket i förändring2014Independent thesis Advanced level (degree of Master (Two Years)), 10 HE creditsStudent thesis
  • 7.
    Adamsson, My Emma
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Interior Architecture & Furniture Design.
    The new story of the subwaystation2015Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
  • 8.
    Adenfelt, Elin
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Industrial design.
    Successful sustainable design2005Report (Other academic)
  • 9.
    Adenfelt, Elin
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Industrial design.
    What happens when we have no more crude oil?2004Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
  • 10.
    Agerstam, Åsa
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Interior Architecture & Furniture Design.
    The Courtyard2012Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
  • 11.
    Ahl, Zandra
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK).
    På andra sidan lera2015In: Konsthantverk i Sverige del 1 / [ed] Christina Zetterlund, Charlotte Hyltén-Cavallius, Johanna Rosenqvist, Tumba: Mångkulturellt centrum , 2015, p. 149-157Chapter in book (Other academic)
  • 12.
    Ahl, Zandra
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ceramics & Glass.
    The National Museum of Stockholm and I - examined2013In: Artists work in museums: histories, interventions, subjectivities / [ed] Mathilda Pye, Linda Sandino, London: Wunderkammer, 2013, p. 177-186Chapter in book (Other (popular science, discussion, etc.))
  • 13.
    Ahlberg Eriksson, Frans Felix
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Interior Architecture & Furniture Design.
    Aldrig Färdig...2011Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    En möbel som har ett tydligt program, en tydlig funktion kan vara begränsande. I min metod har jag utgått ifrån en möbel och förbisett dess program för att vidga mitt sökfält när jag har gjort om den. Jag har sett begreppen funktion, upplevd funktion och materiell funktion som värden som går att höja eller sänka. Möbelns nätverk av komponenter har tillåtits bli instabilt för en stund, för att sedan se till helheten och göra nätverket stabilt åter igen - programmet får komma tillbaka men med en ny gestaltning.

  • 14.
    Ahlgren, Ida
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Interior Architecture & Furniture Design.
    Blyerts, linje, yta: en studie om att formge skåp för mönster2013Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    For my project, I was inspired by old decorative painting traditions and I chose to put them in a more modern context. I am inspired by the decorative approach of handling the surface and by letting patterns and decorative elements take the limelight. In the project, I investigate the lines and the surface and how they form patterns together.

    I want craft to meet function and then to bring these two elements together. My work with the furniture that my project resulted in was based on the body. I want it to be a meeting of the body, the mind and the materiality of the furniture.

  • 15.
    Ahlin, Karin
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Graphic Design & Illustration.
    Fabulera mera: ett barnprogram om vägen till en berättelse2010Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
  • 16.
    Ahlin, Karin
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Graphic Design & Illustration.
    Tröstaren och lilla Vemod - flyger i minnet: eller Historien om när regnet kom : en skildring av berättelsen bakom min films tillblivelse2008Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Jag går på Konstfack Textil och har i mitt kandidatarbete valt att förhålla mig till begreppet storytelling genom att göra en textil animerad film. Efter tre år på denna utbildning förhåller jag mig framförallt till textil genom att använda textilier som en palett med dess olika mönster, strukturer och färger för att med dessa kunna bygga bilder och berätta. Fokus under projektets gång har framförallt legat på manusskrivande. Vägen fram till den slutgiltiga berättelsen har varit längre och snårigare än jag trott; hur att verkligen göra en berättelse. Centrala teman under vägen till min film har varit berättandet i sig. Berättelsens innehåll har byggt på minnen om sorg och förgänglighet samt klimatförändringar ur ett poetiskt narrativt perspektiv.

    När jag skrev min projektbeskrivning var jag fokuserad på att göra en saga. Jag har i projektet hela tiden rört mig kring begreppet saga; men om arbetet resulterar i en saga är inte längre det viktigaste. Jag valde en form, men har nu istället gått vidare med innehållet; och låter innehållet bära historien, för att se vilken form den landar i.

    Jag har funderat mycket på vad det är som gör en historia intressant. Vad i en berättelse fångar en betraktare eller en lyssnare?  Vad det är som fångar människan i allmänhet har jag valt att inte gå in på; utan jag har i detta arbete undersökt vad jag själv dras till för historier; vad som triggar min egen berättarlust och vad som får mig att vilja lyssna vidare till en påbörjad historia.

    Min strävan är att göra en animerad broderad mönsterfilm om att möta sig själv, för att under projektets gång fördjupa mig i berättandets konst. Berättelsen är tänkt för barnet inom  oss,  både inom barnet och inom den vuxne, men framförallt en film för alla som tycker om at lyssna til berättelser.

    I bildbilagan längst bak finns bilder från projektets process. Det finns i texten ingen specifik hänvisning till bilderna, av den anledningen att bilderna passar in på flera ställen i texten.

  • 17.
    Ahlsén, Emely
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Konst som kommunikation?2005Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 18.
    Ahlsén, Emely
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Open spaces - blank pages2008Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    I stand in front of the remnants of a building. Braces and beams create a silhouette against the sky. The walls and roof are missing, but the windows remain, and the sheet metal doors. The structure frames the emptiness. This former building became a metaphor for man. Vulnerable in the face of a sudden turn of events, we lack protection against the world around us. Only our skeleton, muscles and naked skin hold us together. And just as eyes are said to reflect the soul, the leftover windows provide a hint of the former building’s life. The windows became the key to this building’s history. We are dependent on our buildings, just as the buildings are dependent upon us. In times of change, our social structures support us. Our life cycles are the course of events that allow us to move on, change, and be unique. Marks are left with the passage of time. Facades can be open, opened, forced, closed, covered, empty, or ready to be filled. Facades can be the time that passes. We are facades in transition, but stable in our foundations.Nothing is really alive until there is something missing, and the opportunity to place ourselves into a context arises. And in that aspect, the emptiness following the fall of the Twin Towers is therefore more telling than the buildings themselves.Everything we see in a building tells a story. In this essay, the story of Berlin’s House of Parliament is told. I reflect on how man mirrors his present in a building that is in a process of transition and how we are forced to confront ourselves with its history. I consider how a new dimension is created when something is opened, handing over the inside to reveal its past. How time can alter a symbol’s meaning. Today the dome on the House of Parliament represents democracy, as opposed to one hundred years ago, when it stood for power.Facades are in constant change.Does a facade need to be affected by transformation, deconstruction and destruction so that we can understand its whole, or are there other ways to penetrate its surface? Is the structure’s ability to evolve andadapt that which fascinates us and allows us to see its possibilities?Both man and building need “change” in order to illustrate their past and interpret their present. This is most apparent in the moment that the "facade cracks". In the vacuum that is created, it becomes obvious that the present is not forever. To exist in the present, is to be in a state of change.

  • 19.
    Ahmed Bäckström, Siri
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Graphic Design & Illustration.
    Five picture books2011Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
  • 20.
    Ahnmé, Jonas
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Industrial design.
    Ankare1999Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 21.
    Akabane, Miwa
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Textiles.
    Pieces of wood, Pieces of daily life,: Storytelling pattern is an endless chain of imagination2012Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    Daily life resembles a textile pattern. Both are built on forever by repeating things. Both transform every second by the effect of chance.The repetition of pattern relaxes us, and the appearance caused by the chance inspires us. Both trigger a chain of imagination in unique harmony. Textile pattern is a medium to express the chance. Any pieces of daily life become a pattern. The pieces of daily life, which are discovered by the “third eye” (different angle than usual), become a point of departure of the chain of imagination. The viewers have freedom to interpret the design in the way they want. They connect their personal memories with the design, which makes the differences in reaction. The story continues to be narrated while transforming its appearance. Storytelling is a succession from designer to viewer, as if to draw a spiral. One day, I took pieces of wood. They had lines on their surface. Each line had a unique shape because they were a part of an annual ring. I saw them like a human fingerprint. There was nothing the same. Daily life as ordinary, but special days. There is nothing the same in a usual day. Pieces of wood are pieces of daily life, it is a point of departure for a chain of imagination. I narrate a story of it in textile pattern. Storytelling pattern is an endless chain of imagination.

  • 22.
    Akabane, Miwa
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Textiles.
    Storytelling pattern is an endless chain of imagination2012Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    Daily life resembles a textile pattern. Both are built on forever by repeating things. Both transform every second by the effect of chance.The repetition of pattern relaxes us, and the appearance caused by the chance inspires us. Both trigger a chain of imagination in unique harmony. Textile pattern is a medium to express the chance. Any pieces of daily life become a pattern. The pieces of daily life, which are discovered by the “third eye” (different angle than usual), become a point of departure of the chain of imagination. The viewers have freedom to interpret the design in the way they want. They connect their personal memories with the design, which makes the differences in reaction. The story continues to be narrated while transforming its appearance. Storytelling is a succession from designer to viewer, as if to draw a spiral. One day, I took pieces of wood. They had lines on their surface. Each line had a unique shape because they were a part of an annual ring. I saw them like a human fingerprint. There was nothing the same. Daily life as ordinary, but special days. There is nothing the same in a usual day. Pieces of wood are pieces of daily life, it is a point of departure for a chain of imagination. I narrate a story of it in textile pattern. Storytelling pattern is an endless chain of imagination.

  • 23.
    Akner Koler, Cheryl
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Industrial design. Chalmers, Sweden.
    Form & Formlessness: Questioning aesthetic abstractions through art projects, cross-disciplinary studies and product design education.2007Doctoral thesis, comprehensive summary (Other academic)
    Abstract [en]

    This research is based on empirical, embodied studies aimed to generate and regenerate aesthetic reasoning through three approaches:

    • an educational approach concerned with developing an aesthetic discipline, supporting a formgiving process aimed to create tangible artifacts.
    • an art-based approach supporting an open exploration of distortion and formlessness
    • a multi-disciplinary exploratory approach concerned with aesthetic experiences shared in laborations demonstrating complexity and transformation.

     

    The overall aim of the thesis is to explore different types of aesthetic abstractions that elaborate aesthetic reasoning about form and formlessness. The thesis develops methods and models for aesthetic investigation that support, challenge and go beyond the normative conceptions of beauty, with high relevance for teaching 3-D formgiving aesthetics and research by design methodologies. A central method applied throughout the entire research project is a cooperative inquiry method engaging students and experienced professionals as co-researchers in embodied/ interactive physical form studies and laborations.

     

    The content of the thesis is presented in three parts relating to the approaches above:

     -Part 1 defines an aesthetic nomenclature organized within a taxonomy of form in space. This aesthetic taxonomy is outlined in five levels based on essential aesthetic abstractions, emphasizing structure and inner movement in relation to the intention for the development of a gestalt. It originates from the educational program of Alexander Kostellow and Rowena Reed and has been further developed through an iterative educational process using a Concept-translation-form method, resulting in the Evolution of Form (EoF)-model. This EoF-model reciprocally weaves together geometric structures and organic principles into a sequence of seven-stages. To question the normative principles of beauty inherent in the EoF-model, a bipolar +/- spectrum was introduced at each stage to expand the model, aiming for a more inclusive approach to aesthetics.

     

    -Part 2, both challenges and expands the aesthetic reasoning in part 1 through i) solo sculptural exhibitions exploring properties of distortion and transparency in a constructivist art community ii) collaborative projects with physicists concerning infinity and studies of continuous complex curvatures and iii) explorative studies of material breakdown and non-visual studies with ID masters students at Konstfack. 

    - Part 3 problematizes the taxonomy of form by applying methods and results from a cross-disciplinary study of complexity and transformation involving artists, physicists, designers and architects. The three year study explored temporal events of changing phenomena and formlessness that did not comply with any traditional aesthetic norms. Based on the experience from 12 laborations, three models were developed: The Transformation-model and Framing the dialogue-model were developed to physically interact with as well as to document and discuss change and transformation through bipolar reasoning. The Aesthetic phase transition-model was developed to capture the particular properties expressed in a transformation and unify stable objects with changing events.  

     

    In conclusion, the thesis claims the value of an inclusive aesthetic mode of abstract reasoning in the scientific and design communities.  A provisional 3 modes of abstraction-model is presented placing numeric, linguistic and aesthetic modes of abstraction as interdependent within a spectrum from separation to contextualization. 

  • 24.
    Akner-Koler, Cheryl
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK).
    A Note on Nano (FormGiving)2015In: Radical Re Re Re Re Re Rethinking / [ed] Maria Lantz, Staffan Lundgren, Stockholm: Konstfack / University College of Arts, Crafts & Desi , 2015, 1 uppl., p. 128-133Chapter in book (Other academic)
  • 25.
    Akner-Koler, Cheryl
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Industrial design.
    Expanding the Boundaries of Form Theory and Practice: Developing the Model Evolution of Form2012In: Shaping Design Teaching: Explorations into the Teaching of Form / [ed] N. Steinö & M. Özkar, Aalborg: Aalborg Universitetsforlag, 2012Chapter in book (Other academic)
  • 26.
    Akner-Koler, Cheryl
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Industrial design.
    Expanding the boundaries of form theory: Developing the model Evolution of Form2006In: Wonderground - 2006 DRS International Conference / [ed] Ken Friedman et. al., Design Research Society , 2006, p. 79-92Conference paper (Other academic)
    Abstract [en]

    The design research community is beginning to recognize the organizing capacity of form as a scientific method of its own right. The aim of this study was to a) develop a pedagogically framed case study method that applied a participatory action research approach and b) create a 3-D form model bridging geometric- to organic structures. A 10-step-concept-translation-form method was developed which resulted in a “Evolution of form” model with two axes: The first horizontal axis presents a sequence of geometrically derived forms that gradually take on organic qualities of convexities and concavities. The second axis expands the model in a vertical dimension to include a bipolar spectrum at each stage. This vertical dimension opens up a dichotomy between congruent and incongruent properties in relation to original features of the geometric form.

    The discussion deals with the active formgiving process; the need for sculptural awareness and the inner sense of form; validity of the created method and model and finally the pros and cons of aesthetical abstractions that build on geometric references.

  • 27.
    Akner-Koler, Cheryl
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Industrial design.
    Tvärdisciplinära studier i Komplexitet och Transformation2007In: Kontext – Kvalitet – Kontinuitet: Utvärdering av Vetenskapsrådets anslag till konstnärlig forskning och utveckling 2001-2005, Stockholm: Vetenskapsrådet , 2007Chapter in book (Other academic)
  • 28.
    Akner-Koler, Cheryl
    et al.
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Industrial design.
    Bergström, Lars
    Complex Curvatures in Form Theory and String Theory2005In: Leonardo: Journal of the International Society for the Arts, Sciences and Technology, ISSN 0024-094X, E-ISSN 1530-9282, Vol. 38, no 3, p. 226-231Article in journal (Refereed)
    Abstract [en]

    The authors use new aesthetic criteria concerning structures and properties to explain parallel concepts within theoretical astroparticle physics and contemporary form/compositional research. These aesthetic criteria stem from complex curvature models developed both in string theory and in artistic perceptual research on transitional surfaces and concavities. The authors compare the complex curvatures of the mathematically derived Calabi-Yau manifold with one of Akner Koler's sculptures, which explores an organic interpretation of the looping curvature of a Möbius strip. A goal of the collaboration is to gain experience and insight into the twisting paradoxical forces in the 3D world and to explore the properties of transparency as applied to the Calabi-Yau manifold and a point cloud translation of Akner Koler's sculpture.

  • 29.
    Akner-Koler, Cheryl
    et al.
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Industrial design.
    Kajfes, Arijana
    Norberg, Björn
    Yamdagni, Narendra
    NanoForm2013In: Plastik Art & Science, ISSN 2101-0323, no 3Article in journal (Other academic)
    Abstract [en]

    In an interdisciplinary setting, participants from the fine arts, physics, design, biology, culinary arts and mathematics met to explore a two-fold project involving nano and haptics. Using methods that interlace macro- and nano-scale phenomena and technologies, we were able to develop a physical, embodied relationship to a world that is far beyond the direct sensation of touch and human interaction. During this three-year project, a core team of participants developed the following experimental approaches and methods: Aesthetic labs, Surrealist games, Nanofabrication, Infectious formgiving, Process video documentation and Performative staging.

    With access to nanofabrication laboratories, the team explored form using deposition and etching tools on the tip of a strand of hair as a physical, tangible point of departure. Creating tangible relationships with nano phenomena and creating token imagery makes these invisible parts of our world more accessible and workable on a wider and more visionary scale.

    Given the strict protocol in the NanoFabrication Center and the general principle of working flat and clean in such environments, the methods applied by the NanoForm project the haptic approach, the use of dirty human material in a sterile environment and above all the open-ended manner of searching and acting uncovered new territory and gave this project an extraordinary position in the nano research community.

  • 30.
    Alanko, Minna
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Graphic Design & Illustration.
    The Redheaded Man2013Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    Illustrating the same story in three different ways explores illustration processes and demonstrates the impact of illustration on the interpretation of the story. Enhancing the transparency of creative processes places an illustrator into the highlighted position as the producer of visual content and ideas. 

    The story of The Redheaded Man, written by Russian absurdist Daniil Kharms in 1937, functions as a framework for this conceptual illustration research. Although the anti-narrative features of the story almost reject illustration, its polysemous nature opens a path for the variety of approaches in visualization of the text.

    In the attached report I introduce three different approached and illustrated responses to the story of The Redheaded Man realized during the MA degree work project, as well as the reflections and categorization of the content and ideas behind each illustration project.

    The outcome of the project addresses the questions of creative processes and illustrator’s visual decisions on both personal and meta-level, addressing the need of developing the theoretical content for the field of illustration.

  • 31.
    All, Aron
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ceramics & Glass.
    Kandidatexamensrapport2004Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 32.
    Almer, Mathilda
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Textiles.
    Kalejdoskop: mönster och djup2008Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
  • 33.
    Almer, Mathilda
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Textiles.
    Sju sorters kakor: Lekmoduler för barn i förskolemiljö : Lek med maten!2005Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 34.
    Almfeldt, Ulf
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Interior Architecture & Furniture Design.
    Furu: en träskalles ångestresa2007Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
    Abstract [sv]

    ”Furu är fult” Det är en kommentar man ofta får höra när man nämner furu, många har åsikter om materialet vissa positiva men det flesta är rätt negativt inställda till furu.

    Vad är det då som gör att folk har dessa åsikter ? Är det materialet som sådant, det formspråk som oftast förknippas med furu, eller är det andra faktorer som spelar in?

    Kan man med hjälp av ett modernt formspråk påverka och få folk att se förbi materialet, få dom att uppskatta produkten och fastna för den trots att det är möbler gjorda i furu.

  • 35.
    Alonso, Ignacio
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ceramics & Glass.
    Behold, this is my ceramic ejaculation: magisterrapport2009Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
  • 36.
    Alonso, Ingacio
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ceramics & Glass.
    Sugar-coated, honey dripping, fudge sucking, cherrys on top, feelin' blue but happy at the same time: kandidatrapport2007Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 37.
    Alstorp, Paulina
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Ensam är stark!?2014Independent thesis Basic level (degree of Bachelor), 5 credits / 7,5 HE creditsStudent thesis
    Abstract [en]

    I am interested in humans, bodies, movements, directions and how they affect each other. How we move towards each other or away from each other, inside a home or outside. How we relate to each other and to what people say and do. Co-operations between people that occasionally, possibly, do not work; how certain relationships, like certain materials, can have various breaking-points; that materials can be laden with numerous preconceptions, for instance what they should be used for.

    Beginning from the perspective of a feminist commune, I have explored the concepts of family, belonging, and loneliness. I have interviewed, observed, photographed, and through living in the commune during shorter periods of time, I have taken part in their every-day life. Through this investigation I have become more aware of my view on loneliness and belonging, regarding both myself and others. Can we as humans stand alone, or is interdependence necessary to reach our full potential? Can we experience loneliness in spite of co-existence? And can we feel togetherness in our loneliness?

    I have created objects in which I hope the observer can recognise themselves, in the emotions I wish to communicate. It may be about shame; shame for not fitting in; not belonging; a nagging sensation that you are not “right”. It may be the dark side which can arise through togetherness; like being situated in an environment where you are surrounded by people but still do not feel you belong; but also the feeling of release that a self-imposed seclusion can give. Through my jewellery I want to show that the way in which something or someone is decorated can raise standards, values and preconceived ideas.

  • 38.
    Alvarez, Anton
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Interior Architecture & Furniture Design.
    Möbler med mönster och volym2009Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Möbler och skulptur är något väldigt besläktat. Hanteringen av volymen, proportioneringen och materialen är centrala för hur betraktaren ska uppfatta objektet.

    Hur ytan ser ut och vilket mönster objekten bär kommer sätta dessa parametrar ur spel och förändra uppfattningen av föremålen.

    Jag ska arbeta med mönster för att förändra hur man uppfattar och möter objektet. Min arbetsmetod kommer bestå i en rad olika experiment som innefattar framtagning av mönster, mönster-undersökningar och volymstudier i lämplig skala. Dels i 2d men också applicerade mönster på de olika volymerna för att undersöka hur de påverkar hur man uppfattar volymen. Jag ska arbeta utifrån egna teorier och idéer vad gäller mönster och hur man uppfattar volym men också med hjälp av andras studier i ämnet perception.

    Jag ska skapa möbler med mönster som förstärker eller förändrar deras karaktär utifrån de undersökningar som jag kommer fram till. Beroende på var undersökningen leder mig ska jag ta beslut vilken typ av möbler som jag ska rita. Jag ska göra en familj möbler som tillsammans bildar en helhet. Likt en kollektion där föremålen hjälper varandra och berättigar varandras varande. Möblerna ska kunna stå för sig själva utan att behöva bakomliggande process och undersökningar för att kunna betraktas och uppskattas. Upplevelsen ska vara tydlig och direkt, men skapa en lust att veta mer och få besökaren att hitta sitt eget förhållande till möbelerna.

  • 39.
    Amborn, Johan
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Interior Architecture & Furniture Design.
    Från ax till möbel: förnyelsebara material som möbler2008Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [sv]

    Förnyelsebara och/eller miljövänliga plaster som t.ex. biokompositer är ett eftersatt område inom möbelindustrin, där utvecklingen hittills ofta har inriktats på återvunna material. Jag har koncentrerat mitt projekt till detta område med inriktning på det förnyelsebara materialet veteglutenkomposit(VG) i samarbete med forskningsföretaget STFI-Packforsk och gjort ett flertal experiment i materialet. Det slutgiltiga resultatet har blivit en komposterbar stol i VG och ett flertal urnor samt materialprover. En av de stora fördelarna med materialet är att det är komposterbart och redan efter några veckor bryts ner vid kompostering, vilket bidrar till att dess miljöpåverkan blir så liten som möjligt.

    Vetegluten är en restprodukt från produktionen av etanol och kan när det blandas med glycerol och pressas under högt tryck och värme bilda materialet VG. Tack vare att det är en restprodukt så är råvarupriset väldigt lågt och materialet har därmed potentialen att vara mycket prisvärt. Det finns redan idag ett flertal förnyelsebara material på marknaden där majsplast är ett exempel men de är ofta inriktade mot förpackningsindustrin där livslängden för produkten ofta är begränsad.

    Några av de frågorna jag försökt besvara är: Kan plast vara ett förnyelsebart material? Behövs det ny design för nya material? Hur kan man applicera förnyelsebar plast på produkter inom möbelindustrin?

  • 40.
    anderson, moa
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ceramics & Glass.
    Tanter2014Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    Abstract

    When I, at the age of 20, started working in home care service, I had an idea of what it means to age, a view witch I quickly realized was not true at all. The essay begins with a search for the images of aging you come in contact with, when you do not have a deeper interest in the matter.I take a closer look at how aging is described and how the concepts of aging and dignity are often interconnected, and debate about which images of aging that is outdated and where from they originated.I also show that that image is in for a change, much is happening right now, and there are many like me, who want to change and broaden the view of what aging can mean.Finally I describe my sculptures “Beatrice” and “Rosmari”, and reflect on how they relate to the image of what old age looks like.As a sculptor, I want to create an alternative to a widespread image of old people as a problem or idealization of the olf lady as a kind, cute and cookiebaking creature, as well as an alternative to the traditional sculpture tradition, that often show men in positions of power, and sweet passive women/girls.I tell of the strong, stubborn, eccentric and absolutely ordinary lady

  • 41.
    Anderssen Sibthorp, Kari
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Ledade smycken med inspiration av tekniska detaljer2000Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 42.
    Andersson, Annmari
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Agilitybana för turbinens hundrastfält: funktionell offentlig utsmyckning2004Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
  • 43.
    Andersson, Annmari
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Produktformgivning: en smyckekollektion2002Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 44.
    Andersson, Boel
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Textiles.
    Repetition2011Independent thesis Basic level (degree of Bachelor), 15 credits / 22,5 HE creditsStudent thesis
    Abstract [sv]

    Taket utgör en stor del av hur vi upplever ett rum men är ofta en bortglömd del av det - ett trassel av ventilationsrör och eldragningar eller täckt av vita ljudabsorberande plattor. Syftet med projektet är att med textila experiment hitta vägar att utnyttja taket och på så vis ge rummet en ny karaktär.

    Resultatet av mitt arbete  är en textil där en geometrisk form i upprepning blir något  väldigt komplext och organiskt. Textilen kan i detta projekt användas rumsligt, för att skapa form och drapera rum. 

  • 45.
    Andersson, Christian Pontus
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ceramics & Glass.
    Barnträdgården: kandidatrapport2005Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 46.
    Andersson, Christian Pontus
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ceramics & Glass.
    Cry me the sorrows: magisterrapport2007Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
  • 47.
    Andersson, Christian-Pontus
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ceramics & Glass.
    "Cry me the sorrows"2007Independent thesis Advanced level (degree of Master (One Year)), 15 credits / 22,5 HE creditsStudent thesis
    Abstract [sv]

    Det var i Marias ögon det började. Min besatthet av den gråtande jungfrun väckte min fantasi. De avbildningar som gjorts av Maria och hennes sju sorger talade till mitt hjärta. Så vackert, så ödesmättat, så gudomligt.

    Enligt en populär förestallning blev Maria havande genom örat. Det tycker jag låter fint. I min historia har hörseln en stor betydelse. En gråterska i dödsriket lyssnar till alla världens sorger och gråter. Det år inget burdust hulkande utan ett stilla vackert sörjande. Spejare utsända i världen samlar människornas sorger och överför dem till hennes öra. Tårarna blir sorgens avfall.

    På andra sidan jorden finns en stad som för omvärlden var stängd för 500 år sedan. De hade en hemlighet som inte fick läcka ut, deras kunskap om ponlin var deras och ingen annans. I denna stad har i generationer kunskapen om porslin vandrat samlats och berikats. Dit åkte jag för att bygga min salong.

    En skönhetssalong i dödsriket och en porslinsstad mixas härmed till ett grandiost graduate work

  • 48.
    Andersson, David
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Berlock: [-åkk']s,-en-er : nipper att hänga i kedja2001Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 49.
    Andersson, Emil
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Graphic Design & Illustration.
    Så blev det inte: Ett arbete om prestationsångest2016Independent thesis Basic level (degree of Bachelor), 15 credits / 22,5 HE creditsStudent thesis
    Abstract [sv]

    Ett projekt om prestationsångest som slutate i en bok. 

    Mitt projekt handlar inte om någon sorts Strindbergsk skaparkris-ångest med excentrisk galenskap som följd. Inte det där stora nästan religiösa sökandet efter den konstnärliga inspirationen. Det är en mycket mer grådaskig diskbänksrealistisk molande tråkångest jag tänker på. Den envetna rösten i huvudet som väser åt en att det inte kommer bli bra. Det är rädslan för att göra fel och det är viljan att göra något riktigt fett “just this time!” i en ohelig blandning som sätter kolsvarta käppar i hjulet för en.

  • 50.
    Andersson, Hanna
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Graphic Design & Illustration.
    The Myth about the Dark and Forgotten Age X: Exploring my storytelling in an art context by creating a myth based on my imaginary world. In the technique of oil painting.2012Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [sv]

    Mitt examensprojekt är ett fördjupande i min egna bildvärld och arbetsmetod. Det handlar om att utforska mitt historieberättande i en konstkontext.  Genom att skapa en myt från min egna bild/fantasi värld. I tekniken oljemåleri.

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