The many technological processes that products go through can make consumers less related to the systems behind them and their origins. The same thing happens to food. This project highlights the implications of a food system within the global scale of today’s mainstream economy and explores the possibilities for a product that originates from a more sustainable food system. Apart from re-designing a processed everyday food product, the aim of this study is to increase awareness of the pressure that the world’s fish stocks are suffering due to overfishing – an issue that is being aggravated by our current food system. For this reason fish fingers (aka fish sticks), which is a well known food product in Sweden, have been chosen as the primary focus in order to make a complex issue more tangible. By re-evaluating what a fish is, analysing current food systems and food products, making sensory explorations and collaborating with chefs, Havsbitar 1.0 and 2.0 (”Sea Bites” 1.0 and 2.0) have been developed. It is a series of fish fingers that has been designed for a desirable future scenario, where a resilient food system has been implemented. The aesthetics of Havsbitar intends to connect it to its ingredients and to the ecosystem it comes from, while maintaining the key characteristics of the fish finger as we know it today. The acceptance of the concept as a food product is an important variable to this project. The concept is placed in the field of Transition Design. Nevertheless, the design of Havsbitar 1.0 is a proposal that is intended to create possibilities for dialogue about an ideal industrialized commercial product. On the other hand, Havsbitar 2.0 follows a more discursive, critical angle towards the fact that fish fingers do not resemble fish, its main ingredient. Havsbitar 2.0 could then be placed in the field of Critical Food Design and Discursive Design.

I investigate light as a variable that defines and re-defines space. I develop a technique to implement this theory in physical space. The space becomes a tool to further explore how light affects space, and how I can create a space that interoperates the change in light. I work physically, investigating, in model and full scale. I develop the principal as well as details of the space. Both are of great importance to the impression of the space.  My investigation into light begun as a norm-questioning way of measuring space. How can we study space without numbers and hard values? And what spaces can we create if we break free from the flat norm? I study how light can change our perception of a surface. I started investigate in model how I could manipulate the perception of surfaces through changing the light inlet and how I could sculpt surfaces to make them appear different in different light conditions. The relation between inlet and surface became the principal that I started developing space with. I found that the directions of a surface structure is where I can control the appearance of a surface. By casting plaster I develop surfaces with directions and study light on them. I started developing elements with directions that I assemble into one structure.  I use plaster to create the elements. Plaster is interesting in the process of casting, the material goes from being able to take any shape, to become static and unchangeable, unless you break it. The plaster has the properties that it copies features from other materials, such as the shiny surface of the rubber. The plaster gets a beautiful surface that in combination with its color reveals light well. The space I’ve created is based on directions and how light changes its appearance. In one light, a veil like structure in gray and in another a contrasting with a shadows casted and fragmented on the surface.

I create spaces, that are presented as sets (scenographies), by working with storytelling, colour, geometry and transitions. By exploring tangible and abstract elements, I compose different atmospheres. Atmosphere is the central aesthetic category in my work, and creating an emotional experience through space is my intention. The spaces are inspired by a magic realist novel. I transpose the text into images, to then sculpt spaces with geometry, colour and light. I write new stories and descriptions about these spaces as I imagine the atmospheres to be experienced. Transitions are fundamental to my project: the transition of Latin-American references within magic realism and emotional architecture, to my own context at this moment in Sweden; the transition from text to space (and vice versa); and the transitions between spaces in my composition. These are my apparatuses in sculpting the emotional and magic space.

This thesis seeks to outline methods that explore interaction when the material object takes the role as playful provocateur. The process describes how simple, classic toys provide the guiding inspiration for prototypes. Combining the qualities of elastic freedom and surprising movement with simple mechanical input for expressive transformative form. The performative aspects of this movement are explored and described in workshops with contemporary circus artists and industrial designers, with the aim of understanding how expressive and playful behaviour can inspire the design of an interactive playful object. Finally, a series of provocative and animated latex objects use elastic movement and ambiguous bodily aesthetic to engage an audience in a playful and dialogue between human and machine. Ultimately, this thesis defines some basic principles and methods for making expressive, and robust moving objects, capable of provoking new interactive experiences. The research concludes with the suggestion that designers should look to the performing arts as a context that allows provocative new interactive experiences and a space for them to be tested on the their merits of expression.

Samexistens Jag har plockat ut och leker med orden, jag tittar på dem som solitärer.Jag ställer dem mot varandra.Det blir en ny kontext.Ett nytt mellanrum. Jag skapar en installation som länkar samman,där det finns plats för dig att hitta rum.Där du blir en del av mitt projekt.Jag behöver dig som medskapare,för du är min konjunktion. Jag leker med tid och rum.jag förflyttar oss emellan.Det handlar om förr, sen, nu och då.Det handlar om avstånd, närhet och där du är.Det handlar om det som funnits, finns och uppståroch allt i samma rum. Jag använder olika verkligheter i samspel med varandra.Du i din,jag i min,och vi i våra världar tillsammans.Det fascinerar mig.Verkligheter som blandas med varandra.Så lika och egna på en och samma gång.

”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?

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 ♥•°*”˜

In order to contribute to equality, we must go beyond the standard. I want to learn from people with disabilities and the spatial border they are faced with, by exploring the responsibility I have been given, through claiming a role that affects our built environments. I have experience with disabilities and handicaps, but these experiences do not automatically make me better in addressing issues concerning other people with disabilities. I am dyslexic and have been through big obstacles, particularly in the educational system, and I have my Aunt, who has an intellectual disability. I am privileged to have these experiences, and with this thesis I have explored them as an interior architect. This is where I start on my way to contribute.  This thesis is a critical study of how standards are practiced, examined through housing built for people with intellectual disabilities in Selbu, Norway. In the center of the critique is the institution. Institutionalization and standardization have a long relationship as answers to complex questions. Institutions’ uniformity ultimately belongs to no one. The matter becomes particularly problematic when the environment is supposed to operate someone’s home. Housing for people with intellectual disabilities is often life long and not determined on the intention of the builders. What is obvious to me after reading the standards and exploring the buildings, is that the minimum requirements are always in place, often built as if the minimum was the goal. But a standard also expresses its vision. The vision talks about inclusion and the dangers with mini institutions, but the vision is expressed through soft language and the minimum requirements are expressed through concrete language of measurements. From the process of being a standard to becoming a building the soft language evaporates from the building plans. The standard will never prohibit you to go beyond it! / <p>Part of the project is in collaboration with Nils Ställborn, graduating Bachelor student with his thesis Material Diversity.</p><p>Please go to <em>poststandardization.info </em>to see our exhibition, an information platform to spread the insight of Poststandardization to enable the world to go beyond the standard.</p>

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