In my thesis I have investigated how to design a comfortable seating furniture for public spaces, so that it can be produced and used in a sustainable way. This is particularly important in environments where furniture is worn at a high rate, and where repair is currently not prioritized and furniture is left to decay. In the project, I have worked site-specifically with Stockholm City Library, but designed with the idea that it can fit in several different environments. This degree project presents a proposal on how companies and municipalities can switch to a more circular way of using furniture. The design proposal presented is an alternative to an upholstered armchair. Bind is designed to be produced and used in a sustainable way, so that it can have a long and dignified life and contribute to a circular economy.

In a future vision for rail travel, trains will be designed as an activity-based whole space, with different areas for various activities, such as relaxing, socialising or family bonding. My degree project, in collaboration with SJ, proposes a concept carriage dedicated to work, analogous to spending a day at a mobile coworking space. By recognising the new ways of working, this carriage will cater for the needs of different individuals and various types of work and will include private digital meeting spaces, group compartments, collaborative open spaces and cocoon-like seating options in quiet areas. Unlike other modes of transportation, trains allow for passengers to navigate and experience different spaces. By enhancing the use of space and incorporating amenities that improve the user experience, I aim to transform the perception of long train journeys from tedious to exciting and allow a more seamless and efficient way of getting work done while travelling. Ultimately, this degree project encourages sustainable travel through user-centred design. 

Imagine how much we are missing. So many people's artistry, stories, knowledge, soundscapes that are not given space in our world.

In Sweden, two out of ten songwriters (Sveriges Radio 2022) and three out of ten employees in the tech industry (Statistiska Centralbyrån 2020) are women. What do the sounds we haven't yet heard sound like? Unheard Sound wants to let the unheard sounds be heard.

In this project, I have explored how women, non-binary and trans people can be invited to participate in the electronic music scene to make the music and tech industry more equal. The project has resulted in a hardware synth that aims to challenge current norms about how a synth should be designed. A focus on technology places the power of the sound in the hands of the user. 

The design process has been driven by interviews with women working in the music industry and workshops with a primary school and an LGBTQ+ youth center.

Aziza's Friendship Compendium, 1st Edition is my illustrated textbook that is part-compendium, part-manifesto. It provides a social, cultural and political analysis of friendship as an inherently anti-oppression, radical tool of resistance. 

This study of friendship investigates the form and function of friendship, as well as how neoliberalism and the patriarchy cause friction in its functioning, and the ultimate fantasy of friendship that is possible through its untangling of systems of oppression.

The Annotated and Expanded version of the Compendium shared here details the process and outcomes surrounding this publication and my master's degree project as a whole. This project is an argument for friendship, a celebration of friendship, a dissection of friendship and a resurrection and recontextualisation of friendship. 

˜”*°•♥ I hope you & your friends enjoy it ♥•°*”˜

My study challenges the status quo that seems to exist in the design of modern apartments, which is heavily influenced by the modernistic movement that flourished in early 20^th century. Modernists strived to create a just and equal society, by challenging the social order and the traditional hierarchical system. The architecture of the time reflected these ideals and ultimately resulted in simplistic and repetitive designs that often formed box like interiors with standardised furniture. Consequently, these designs are detached from the individualism of the inhabitants, forcing people to sit, sleep, dine and socialise in a predefined space in a prescribed manner.

My project is an artistic intervention to the BOX - the soulless interior of modern apartments. My aim is to explore and imagine alternative ways of existing within the box and push the boundaries of how we conduct daily activities in the living space.

Haptica is an artistic research project in the field of aesthetics that explores practical and theoretical connections between haptic attributes of the hand (making), nose, mouth and throat (tasting) and body (inner presence). The project aims to interlace aesthetic reasoning from sculpture and design to culinary art that emphasises active exploration and intentional form- and taste- giving processes. Haptic perception engages sensory experiences mediated through skin and kinaesthetic system.

The project started with researching how air flows through space and is perceived by subtle sensory receptors under our skin and hair follicles, proceeding to tactile touch of material and grasping of material and instruments used in the creative making and performative process. It then shifted the practical and theoretical models from external space and physical materials to internal airflow through breathing, smelling and tasting that connects with soma aesthetics and reflection through inner presence. The project is a collaboration with Mischa Billing and Annika Göran Rodell, Campus Grythyttan at the School of Hospitality, Culinary Arts and Meal Science, Örebro University.

This book aims to strengthen an understanding of the sculptural possibilities of form and space through developing a taxonomy and structure that recognizes and gives priority to the 3-dimensional perception of form and space. It is written so as to apply to both the active process of shaping 3-D form and space and analyzing any existing visual situation. Teaching in the Department of Industrial Design (ID) at Konstfack has given me great opportunities to further develop and document this visual study program. Using clay and paper models the students creatively question the "established terminology" and develop solutions that strengthen and/or add new concepts to the program.

The foundation of this language is derived from the inspiring courses conducted by professor Rowena Reed at Pratt Institute in New York City and also in private Soho classes. Rowena Reed´s method of visual analysis taught her students to "think with their eyes" and to translate an inner vision into concrete experiences. Her challenging way of teaching combined creative exploration with an analytical search for the "Principles of visual relationships".The last pages of this book are dedicated to summarizing her background, philosophy, and educational vision. Moreover, in order to gain a historical perspective, a map is included that outlines the relevant art movements in the beginning of this century and some of the major events in the early work of Rowena Reed and her husband Alexander Kostellow. The Russian constructivist movement is the point of origin for the artistic tendencies and formal language developed by Reed and Kostellow and further developed in this book by Akner Koler.

Our topic concerns how to conduct practice-based research between and within three aesthetic disciplines: sculptor, professional taster, and performative artist. We continue to work with the material and experiences developed during the 3-year VR-funded HAPTICA research project. Our plan is to actualise a few practical situations that show how we gained both a deeper aesthetic knowledge within our own artistic disciplines and grew more sensitive and knowledgeable about the challenges faced in the other disciplines. The overall topic has been to expand the field of aesthetics by including the proximity senses: tactile, haptic, smell, taste, and movement by conducting artistic research in haptic.

New design methods for educating designers are needed to adapt the attributes of haptic interaction to fit the embodied experience of the users. This paper presents educationally framed aesthetic sensitizing labs: 1) a material-lab exploring the tactile and haptic structures of materials, 2) a vibrotactile-lab exploring actuators directly on the body and 3) a combined materials- and vibrotactile-lab embedded in materials. These labs were integrated in a design course that supports a non-linear design process for embodied explorative and experimental activities that feed into an emerging gestalt. A co-design process was developed in collaboration with researchers and users who developed positioning and communications systems for people with deafblindness. Conclusion: the labs helped to discern attributes of haptic interactions which supported designing scenarios and prototypes showing novel ways to understand and shape haptic interaction.

This thesis aims to explore the tool of illustrative storytelling to challenge governmental restrictions faced by refugee narratives in Sweden. This exploration will be done through the study of stereotypes that stigmatise the refugee’s identity. The figure of the refugee is often shaped by the visual representation one consumes via mass media and the words one hears in political debates and social discourse. Refugees are often portrayed as immigrants and nothing but immigrants, faceless victims on news, and often de-named suffering people drowning in some ocean. This portrayal makes the humanity of the refugee invisible. A human who has a face, a name, a past, a story beyond his/her refugee story, and most importantly an identity and rights.

I have always witnessed the portrayal of refugees – and myself as one of them- in the media as an act of dehumanization, a misuse of terminology describing me and my situation in political and social discourse, and the effects of these factors on refugees. I have always struggled with the entitlement this invisibility and misrepresentation gives to people. I sense this every time people talk to me, talk about me, and/or talk on my behalf. This misrepresentation always portrayed me as a ‘’problem’’. The refugee has always been a crisis, ‘’A global refugee crisis’’, ‘’An integration crisis’’, and a ‘’European migrant crisis’’. This use of terminology results in a lot of feelings that become politicised and socialised such as fear, apathy, empathy and sometimes hate.

This study will present an exploration of such feelings and their significance to the refugee situation. I will present a critical analysis on the representation of the refugee through a research on Swedish media, political discourse, and the design executed by the Migration Board’s office in Stockholm. The research will be supported by a visual outcome in the form of a graphic novel that narrates two parallel stories. One story is my own experience as an asylum seeker, and the other is a narration of the overall refugee situation in Sweden. The two stories will be treated on two different levels, a personal one and a journalistic one. Illustration as a tool here serves an aim beyond its practical aspect of depicting a narration. It is a resistance against the restrictions of filming, recording, and photographing whatever happens inside the Migration Board’s offices in Sweden. It is a significant tool that educates, interprets, and re-contextualises the right of refugees to tell their own stories as well as document and expose a history told by our oppressors. Illustration here serves an aim of narrating a story that is not institutionalised but provides the reader with cultural understanding and access to a world only the refugee can depict.

Oh, the good old metro stations! No matter how much we change, how much our society changes, they all look pretty much the same.

We walk down the stairs, grab a coffee on the way, pass the gates, get to our platform and then we wait.

But what if? What if it wasn’t like that? What if we could decide not to rush down to the platform, but instead enjoy the few minutes we have, before being drawn back to our daily life, in a nice, entertaining environment? A place for everyone to enjoy, not just those who own a metro card.

After all, a station is still a public space, isn’t it?

Kan man vila i en bild?

En nervös linje försöker skilja det inre och det yttre. Ritandet som en plats mellan hjärnan och handen. En plats att vila: i en färg, i en textur.

Att bygga en värld skapar många möjligheter, jag kan forma den precis som jag vill. Protestera genom att drömma. I detta projekt försöker jag skapa en plats som leker med verkligheten, där allt kan ifrågasättas. Berättelser om trädgården som en plats för känslor och inre rum – pressen att blomma och längtan efter en alternativ plats. Kan fantasi vara nyckeln till motstånd?

Solo is an eating scene for a single person. The aim is to break today’s traditional way of eating alone at a restaurant through a series of instruments, arranged in a specific order, combined with a set menu. The eating experience is a melody, conducted by the instruments. By presenting different alternatives and choices along the way, there is also space for the guest to jam. To compose their own experience and make their own kind of music.

To slow down, think, look, taste, feel, reflect, evaluate, act and compose. To activate and stimulate the hands, the heart and the brain , to really appreciate the situation and to give time for oneself through the act of eating. Solo — in the company of food

Hard preppers and soft Values

Survival of the fittest.

Who is prepared for a crisis, and who will survive? What type of knowledge is needed to survive in todays society?

When I received the folder ”If Crisis or War Comes” from MSB (Swedish Civil Contingencies Agency) I felt a shiver of individualistic expectations to provide and protect yourself in a society where you can’t trust the community. This project is an attempt to challenge the camouflage green violent aesthetics disguised in a highly multifunctional pocketknife. An attempt to challenge who will survive.

This is a project about discussing survival from a class and norm perspective thought aesthetics. Discussed in parts as prepping in food and water prepping and defense. All of them in a technique and aesthetics that provokes the topic and challenge the individualism of todays prepping system.

How do care and authority relate to each other, and why is the relation between them important to understand for architects and designers?

By experimental modelling and experimental thinking this project tries to understand how the caring for different matters in the design process affect the results and consequences of care. The text draws parallells to early aviation pioneers and how a shifted focus from sheer power to manoeuvrability served them their success. 

Through the development of a curious wood treatment technique, and through it’s imagined applications to homes, mainly in large scale housing projects, this project searches eagerly for answers on matters related to care, authority, responsibility, a reasonable degree of rationality, standardisation, the role of the architect and the role of the designer.

Projektet "Dryckeskärl i glas för individer med greppsvårigheter" - som jag sammanfattar i denna rapport - är uppbyggd i ett antal teman, vilka är, Traditionellt glashantverk, co-design och gestaltning.

Mitt arbete grundar sig i att en stor del av de produkter ämnade för individer med greppsvårigheter idag, är enligt mig själv ofta tillverkade i motbjudande material som plast och silikon. Formerna på somliga hjälpmedelsartiklar kan ibland förmedla barnslighet eller att individen är fångad i sin “funktionsnedsättning” och därmed är i behov extra hjälp. Enligt mig själv och många andra har material och form stor betydelse för upplevelsen av dryck.

Detta projekt är utfört i glas, dels för att det är sällan används i denna produktkategori, dels betraktas glas i de flesta kulturer som något rent, vackert och exklusivt. Mina förhoppningar är att designförslagen i detta projekt kan medverka både i funktion såsom förbättrad självkänsla hos mina intressenter.

Natural light phenomena are a wide array of captivating occurrences. From the gentle diffusion of sunlight through clouds to the dramatic interplay of shadows during sunrise and sunset. Different phenomena of light appear daily, and through light and its meeting with materiality, situations and spaces appear, triggering different feelings and bodily experiences. Material and light are two fundamental parts of interior architecture and our bodily experience in a space. This project investigates how the qualities Shadowplay, Sunshine, Fog and a Cloudy sky, can be put into a spatial context, through light and materiality, to create a similar bodily experience of that in nature. This to remind us of genuine daylight in the absence thereof.

The project aims to create an abstract recreation of the visual identity of the four different phenomena, together with a recreation of our experiences of it. This has been conducted in a garage space lacking all natural light to bring more emphasis to the created lightscape. This project and subject as a whole is important to bring more knowledge about the weight that light has in a space. Today light is often planned late in the process, even though it affect spaces significantly. Light together with surfaces and materials affects the space in different ways.

Weather or Not takes the setting of a restaurant interior. A space where the visitor expects an interesting experience, not only from food, but also by the full environment surrounding it. The restaurant is set in a car garage at Åsögatan at Södermalm in Stockholm. A big underground space belonging to an apartment block, today filled with cars that slowly are pushed out from the city center. In a few years these big spaces will be left empty not serving their original purpose. In a time when discussions of living standards are on the agenda, I want to highlight these big spaces, with exterior qualities and foremost, its evident darkness. To have them serve another purpose. This project is looking into the possibility of working with light in this completely dark environment to remind us of natural light experiences in nature in the midst of the city.

Through collecting keywords and descriptive texts, the project has been able to base the work on several people’s experiences of the different phenomena, giving them their own identities to work with onwards. The project has aimed to create an abstract recreation based on people’s experiences of the four phenomena with some visual resemblance. The design of the space was made in parallel with light installations resembling the phenomena. Within the project several different ways of working with space and objects has been tested. Light brings another dimension to the process. One that sometimes is difficult to translate into the different processes with obstacles of wanted light spread etc. Instead, working in full scale gave new realisations and opened up to new problems both with scale and measurements, but also with placement of one’s eye and body in the space. This was not visibly, felt or fully understood in models, sketches or digital visualisations, as well as in the real-life experience. The body is a tool with different measurements in our senses.

Syftet med projektet är bidra till en livfullhet och reaktivera torgen. Hur kan jag få människor att vilja stanna upp och spendera tid på torget? I mitt projekt undersöker jag hur jag kan skapa en lekfull gestaltning som som ger förutsättningar för nya möten och gemensamma upplevelser. Ett inbjudande rumsligt element som attraherar människor och uppmuntrar till att aktivera platsen. Mina undersökningsmetoder tar avstamp i analys av - och intervju på ett flertal torg. Detta tar jag vidare till längre samtal för att komma närmre människors behov och berättelser i våra gemensamma rum. 

My project explores the possibilities of shaping space using lightweight textile-based elements. The focus is on the transformation of surface patterns into three-dimensional forms, using analogue parametric design with laser-cut beds as a main testbed. The result is a smorgasbord of prototypes: spatial configurations that divide and define space. Each design is a permeable three-dimensional form that projects a unique pattern of shadow and light. The basis of my project comes from an initial investigation of Uppsala public libraries’ needs for flexible solutions. The libraries have housed many civic activities that I have experienced in recent years since moving to Uppsala in 2018. With their requirement of multiple types of use, I propose using fabric infrastructure as configurable room dividers. I use discarded textile (used carpets, fabric remnants) as the starting point for each prototype. The material itself imposes certain restrictions on the work. Each new piece of fabric acquired a problem waiting for a solution. In this sense, the finished prototype constitutes a solved puzzle. One key objective is to create designs that are flexible while still being robust enough to be portable. Another key objective is to create inviting and organic designs. While I used laser cutters to cut the fabric into precise patterns, I allowed gravity and light to create an imperfect and organic end-result. However, the outcome of my experimental exploration is a system and a technique for making use of discarded textile materials to create atmospheres and spaces.

Vi människor kommer antagligen alltid att behöva artefakter för attleva på den här planeten. Nu omger vi oss kanske av fler föremål ännågonsin men på samma gång har vi mindre kontakt till vart, huroch av vem dessa artefakter är gjorda. I mitt projekt försöker jagkomma närmare materialet trä och dess ursprung, genom praktisktarbete vill jag belysa fördelar med en lokalt förankrad produktion avvardagsföremål.Jag har samarbetat med ett småskaligt sågverk nära Stockholm,därifrån kommer det mesta av materialet till projektet. Ambitionenär att visa på alternativa mindre system när det kommer tillproduktion av vardagsföremål samt att formge föremål av lokalaresurser för det lokala närområdet.

I en tid där möjligheten till att ständigt vara aktiv och där acceleration är lättare än motsatsen har jag valt att jobba med konceptet paus, tiden mellan aktiviteter, den stund då det inte handlar om att prestera eller att avancera. En övergripande fråga jag ställt är vad det är vi behöver paus ifrån och vad gör vi när vi tar paus. Jag har valt att jobba med kontoret som rumslig kontext, denna högborg för effektivitet och aktivitet. Jag har i mitt projekt skapat objekt som syftar till att främja närvaro och fokus på nuet. Jag vill med mitt projekt belysa vikten av att vara ledig och att vara närvarande vid ledighet. Jag har utforskat ämnet genom intervjuer och research inom psykologi och meditation.

The aim was to investigate the perception of whiteness in Nordic architecture and analyse the reasonsbehind the pale colour scheme in a public space context. The word pale was used alongsidewith white, since it gave broader possibilities to ponder over the topic. The geographical researcharea was framed to cover Sweden and Finland, although the search for underlying reasons extendedbeyond the borders of the North. Architecture was viewed as an entity, including both exteriors andinteriors. The focus was on reasoning around the question “why” to arouse professional discourseabout the often-unquestioned topic. Analysing the background of a commonly acknowledged phenomenonstrives to make architects more conscious of the background of their aesthetics so thatfuture decisions can be based on a more complex set of knowledge rather than leaning on tradition.Because of the wide demarcation of the research question, the project started with self-formulatedhypothesis, after which they were thoroughly analysed. The formulated pre-assumptions were, thatthe Nordic paleness is, firstly, a consequence of misinterpreted past architecture. Moreover, naturalcircumstances of the North, the symbolism connected to white and the tradition of canonisingmodernism were established as hypothesis. Lastly, architect education, combined with the tendencyof prototyping with white materials were assumed to endorse the pale colour scheme. The misinterpretations’possible implication in the perception of whiteness was also examined as a part of the research.Justification for the hypothesis was found, although broad framing meant that the referencematerial was splintered. Personal reflection was used as a means for cohesion. The paper includes aconcise artistic element in the form of an introductory poem to each chapter.

The graphic novel form can be a visual representation of how memory works, if we understand memory to be a composite of visual, semantic and emotional systems. The interplay between text and image – a non-linear, cumulative style of reading – creates a third narrative space that mimics the function of memory.

Visual storytelling has the potential to superimpose a system onto concepts and ideas which are difficult, fantastical or simply intangible, and, by creating an emotional response in the reader, become a platform to investigate forgotten and whitewashed histories, and to revisit historical and contemporary trauma in a medium that allows for an empathetic and human understanding of an event.

In times of political and social extremism, nostalgia and the rewriting of history into ideals creates a reality that lacks specificity. Memory becomes oversimplified, generalised and reduced. Visual storytelling can remind people of the specificity of reality and the importance of remembering, envisioning and articulating our lives and the lives of others. Through graphic novels Heart of Darkness, Scandorama and Terminal this paper will investigate nostalgia and false memory, revisit eugenic and colonial histories and explore the use of drawing to remember and memorialise contemporary victims of crimes.

Projektet är ett förslag på en utställningsdesign i Storkyrkans likkällare i Gamla Stan i Stockholm och ska agera som annex till Medeltidsmuseets permanenta utställningar. I likkällaren ska historiska föremål presenteras på ett mer okonventionellt sätt än vad som vanligtvis förekommer på museum idag. Designförslaget består utav en flexibel och uttrycksfull utställningsdesign där många olika typer at utställningar ska kunna visas. Projektet drevs ur en frustration över museivärldens stundvis statiska och konventionella sätt att producera utställningar på och förslaget är ett försök att utmana dessa upplevda konventioner. Likkällaren är också ett stort rum mitt i staden som stått tomt i mer än 150 år. Projektet ämnar därför att öppna upp källaren för allmänheten och integrera den med staden ovanför. 

Likkällarens rumsliga kvalitéer och framförallt dess golv har varit en viktig del i projektet. Golvet består av stenar från den rullstensås som en gång gick rakt igen Stockholm och som under århundraden grävts bort. En stor del av projektet har därför kretsat kring likkällarens nuvarande golv då rullstenarna både måste skyddas från besökare på grund av deras kulturhistoriska värde och är opraktiska ur ett tillgänglighets perspektiv. Därför har det befintliga golvet delvis täckts med ett nytt golv som gör det möjligt för besökarna att ta sig fram i utställningen.

Rummets övriga inredning består av montrar och väggpartier där de medeltida föremålen placeras för display. Båda dessa går att arrangera om för att passa många olika typer av utställningar. 

I Likkällaren kan besökaren ta del av både ett spännande historiskt rum som aldrig tidigare varit öppet för allmänheten men också dess unika golv och de medeltida föremål som visas i utställningen.

Feliform

The domestic cats are one of the world’s most popular non-human companions. Even so, cats still tend to remain aloof and enigmatic toward us humans. Cats demand that we accept them on their terms but never really reveal what those terms might be. Unfortunately, this usually leads to cats being misunderstood and underappreciated, and as a result they are one of the most neglected and abused domesticated non-humans today.

Feliform is an attempt to bridge this gap of misunderstanding between human and cat by physically bringing both parties closer to each other in order to increase the attendance between the two species and encourage more frequent, playful and intimate interactions, and the hope is that this will yield more understanding and more affection between human and cat. By interacting more with a certain non-human species, new understandings will emerge. The project takes the form of a piece of furniture which is modular and caters towards the needs of both human and cat alike, and can be used interactively by both parties.

Stockholm växer och behovet av väl utformade offentliga rum är stort. Här sker de vardagliga mötena mellan olika befolkningsgrupper och det är viktigt att skapa rum som känns tillgängliga och välkomnande för alla invånare, oavsett ålder, kön, kultur etc. Ambitionen med mitt examenprojekt är att skapa en känsla av omsorg kring min valda plats, Bredängs torg, och på så sätt förstärka intrycket av att den är till för invånarna. 

I projektet har jag genomgående låtit mig inspireras av inedningsarkitekten Beata Heumans bok Every Room Should Sing. Som namnet antyder handlar boken om inomhusmiljöer, vilka jag i detta projekt har valt att överföra till en exteriör miljö. Centrala tankar hos Heuman är bl a att små överraskande detaljer i designen kan hjälpa betraktaren att bilda en personlig relation till platsen, samt att en dynamisk interiör kräver kontraster.

Projektet har mynnat ut i en serie tillägg och bearbetning av befintliga element på platsen. Med Heuman som ledstjärna har jag arbetat fram ett möbleringsförslag som bland annat involverar en kombinerad stol/cykelställ med runda former i kontrast till raka linjer i den omkringliggande miljön. I projektet tillför jag också en bildserie i en gångpassage med motiv som knyter an till platsen. Bilderna är tänkta att fungera som en igenkänningsmarkör och som en överraskande färgklick i den annars ganska sterila betongmiljön. Via en enkät har boende i Bredäng fått vara med och bestämma vad bilderna ska föreställa. Genom att inkludera målgruppen vill jag åstadkomma en offentlig installation som bidrar till att förtydliga Bredängs lokala identitet. 

Mitt examensarbete är till lika delar ett sorgearbete liksom ett minnesarbete och ett handens arbete. Det tar avstamp i det tomrum som en förlust lämnar efter sig. I minnet av någon, minnet av en lukt, minnet av en känsla. De suddas ut, bleks och omformas. Via dessa fragment undersöker jag dialogen mellan det analoga och digitala, då och nu. Mitt arbete handlar om omsorg och att föra vidare ett arv. Jag tar upp tråden där min mormor lämnade den. 

”Inte klimatet nu igen”, tänkte jag och bläddrade förbi. Tills jag en dag började fundera på om det går att berätta om klimatkrisen på ett sätt som får mig att vilja fortsätta läsa istället? Den frågan blev början på den bilderbok för vuxna som är mitt masterprojekt. För att förstå vad vi förlorar försöker jag förstå vad vi har. För att se in i framtiden blickar jag mot det förflutna. Jag börjar i Big bang och går framåt, in i framtiden. Genom bildberättandet rör jag mig genom tiden, ser in i ögonen på forntidsdjur och pratar med mitt ofödda barn.

Nu har jag nya frågor: När blir vetenskap poesi? Vad händer med en generation som växer upp i rädslan för undergången? Hur kan bildberättande levandegöra historia? 

Mitt examensarbete, Regelverk, Konstfack 2024, kandidatprogrammet Inredningsarkitektur och möbeldesign, syftar till att utveckla och formge möbler av använda träreglar från byggindustrin. Idag görs återbruksdesign ofta i begränsat antal och som unika objekt på grund av den begränsade tillgången på material. Dessa möbler har ofta en experimentell och “skräpig” estetik som inte tilltalar en bred konsumentgrupp. Samtidigt står byggbranschen för en stor del av samhällets avfall, och mängder träreglar demonteras vid rivningsarbeten och bränns upp för energiutvinning, vilket strider mot EUs direktiv. Jag såg en möjlighet att ta tillvara på träregeln och presentera en ny typ av återbruksdesign som inte kompromissar med form, samtidigt som inte ett enda träd behöver fällas. 

I mitt arbete har jag utvecklat befintliga metoder för hur det billiga materialet kan förädlas. Jag har undersökt hur regeln kan bearbetas för att få fram olika estetiska kvaliteter och hur dessa kan presenteras i möbler. Många av mina resultat har framkommit efter upprepade tester i skala 1:1, och mycket av arbetet har tagit plats i Konstfacks träverkstad. 

Designförslagen jag presenterar är en serie möbler där jag visar olika metoder för hur jag bearbetat träregeln. Jag har producerat fyra olika typer av matstolar, ett matbord, en fåtölj och en soffa. I projektet Regelverk vill jag visa att det går att förena estetiska och funktionella krav med återbrukade material.

Detta är den rapport jag skrivit om mitt masterarbete Osynlig sjuk vilket jag arbetatpå från vt2021 till vt2022 vid Konstfack. Målsättningen jag gick in i projektet medvar att börja arbetet med att bredda narrativet och förståelsen om reumatism. Skapanya bilder för att visualisera den fysiska, känslomässiga och mentala upplevelsen avkronisk sjukdom. Att ge en större och bredare bild av vad det innebär att vara sjuk,till de som inte är det men också till de som är det.I slutändan blev detta projekt en samling med berättelser om reumatisk sjukdom.Genom intervjuer samlade jag in upplevelser från 17 individer, vilka alla har olikatyper av reumatism, de upplevelserna tillsammans med min egen blev grunden tillprojektet. Jag skapade en mängd illustrationer vilka jag publicerade på en hemsidasamt deltog vid Konstfacks vårutställning för master-och bildlärarstudenter. Minförhoppning är att genom mina illustrationer utbilda och informera, men även skaparepresentation för oss som kanske aldrig förut sett oss själva.Det finns många fler berättelser och upplevelser än de som existerar här,detta är inget annat än en början.

Educational spaces that interact with nature can give children in the city a start in experiencing the nature close to them. First hand experiences have the potential to influence and inspire children to continue learning about the environment that they are a part of.

The Urban Nature Center aims to bring the concept of Nature School into the urban setting of Tantolunden in Stockholm city in order to invite the public to experience the urban nature. It creates a link to further explore the nature areas surrounding the city.

By developing educational spaces that interplay with nature, focus has been on the relationship between inside and outside and on creating different levels of openness. Providing spaces for teaching both in groups and individually. The interior spaces either focus inwards on the activity taking place or outwards towards the nearby environment by filtering the view between inside and outside.