This thesis consists of a workshop that investigates theperformative act of designers in producing gendered productaesthetics. Product designers make many active choicesin the project they are working on, but what about thenot so active choices, the once that just happen becauseit looks right or because it fits the product? By putting thegendered assumptions of fomgiving into the hands of thedesigners, I hope to generating a realisation of the (re)creationof the gender norms of society into products. I wish toput the designers in a position where they formgive wrongin relation to the norms of product aesthetics, so that theform feels unfitting or misplaced. This to expose the suggestionof how the development of products not only isan iterative design process, but also an iterative processof re-installing norms and objectives of society into thedesign. The end product of this project will be a workshopwhere the designers gets to try out how another normativeagreement of product aesthetics would appear.

Betweenness is a project questioning the relation between us and what we surround us with. To reveal our assumptions around artifacts and by doing so create an conversation between us viewers/ users and the objects themselves. Who owns the dialogue: the object or the viewer? Taking a deeper dive into the symbols and languages of objects, the quiet voices they posses and the functions surfaces, the visualization circle around words such as visual function, ornamentation,  material displacement and attraction.  By trying to convey the objects “inner thoughts” and creating a dialogue it pushes our ideas of what is desirable, what is strange, what is useful or even beautiful. The trick is in the contrast between what we see and what we know, bordering into imaginary, creating voices for ambiguous objects.

Mitt examensarbete består av en gestaltande del och en skriftlig. Den gestaltande delen är ett utforskande i hur jag i text och bild kan gestalta känslan separationsångest. Förlusten av en annan person, en tidigare förmåga eller till och med sig själv. I det här projektet undersöker jag delvis vem jag är i förhållande till mitt skapande efter att ha genomgått en utmattning. Det har också varit viktigt att låta projektet få vara ett sökande med hjälp av handen. För att släppa kontrollen och samtidigt hitta tillit till min egen förmåga igen. I den skiftliga delen berättar jag om min arbetsprocess i både text och bild. Jag går igenom olika faser, insikter, kompromisser, vändningar och beslut i kronologisk ordning. Liksom den gestaltande delen av mitt examensarbete är även den skriftliga delen ett visuellt narrativ där bilderna ges stort utrymme.

This project report offers insight into my research, creative process and work during my two-year Master in visual communication at Konstfack, Stockholm.Clean: Not the Monochrome, Universal and Neutral Modernism You Expect is the published culmination of a period of visual research highlighting Modernism — Modernist (graphic) design and architecture to be precise — as a power structure by uncovering its connections to colonialism and design authoritarianism through misperception, whiteness, exclusive practicing and imposition.The book uses intersections of visual material, personal experience and theory to deconstruct the inheritance of the creative practitioner working in the realm of Modernism as well as its presumed neutrality.

I mitt arbete har jag undersökt liminalitet som ett rumsligt begrepp. Jag har tagit trappan som utgångspunkt för detta och arbetat fram ett förslag för gestaltning av trappan som liminalt rum. Med hjälp av teoretisk research, platsstudier och att gå ett otal trappsteg upp och ner, har jag skapat förståelse för hur taktilitet skapar och förstärker den rumsliga upplevelsen. I och med mitt arbete, har jag argumenterat för hur och varför vi skapar mening i våra liv genom liminalitet som ritual kopplat till inredningsarkitektur. Jag har även skapat förståelse för hur en gestaltning av liminalitet skulle kunna se ut rumsligt, där utgångspunkten är den taktila upplevelsen.

The cultural concepts of identity, life and nature are under constant negotiation. The world have been defined as; the given (nature) and the constructed (culture). Without this constructed dichotomy it is more complex. Nature and culture mimic each other’s qualities and as transparencies can hardly be differentiated as they can act and feel alike.1 Autonomous (hu)man made system have become so complex that we start to perceive them as nature. Although we can not trust our means of technological saviour we deny technological advances its “natural” aspects: mortality, fragility, complex interactivity and dependence on flows of energy and material sustenance.2 Altering nature is central to humans and the more we learn to control it the more it loses the natural character and enter the realms of culture. Everything is co-evolutionary a copy of a copy and as a designers and artists we must use what has already been shaped. Perhaps success is manifested when we alters existing forces and work counter cultural. Or amplify the directions we are currently rendering. Is it time to reverse our concept of not what is possible and what isn’t, but to accept the impossibility of omnipotent immortality? The world is largely messy and it is not possible, nor desirable, to know what is going on, instead we should be certain that we don’t know and learn how to feel from uncertainty, to try to make sense on how to navigate.3 Preoccupied caring for ourselves affects the strategy for survival for both humans and non-humans in this entangled universe. In our present technological reality of conquering the biological, this speculative project is in reference to the uncertainty of our future and the brutal advances that shape human minds. The crisis of being human in the surrealism of our culturally altered nature. The fear of a lost world and our need to reinvent ourselves. A reflection of the contiguity of life between species. Telling the story through an artificial enhancement strategy for solidago canadensis it is about the human hubris worldview and the unique and often troubling realities of the present and the conventional problem-solving/ truth-seeking of the messy, unstable, in flux complexity of nature and culture.4 Living in the extreme times of the weird and wonderful times of nanotechnology, synthetic biology and neuroscience it is now longer about designing the things in the environment around us but designing life itself. Our advances and innovations have huge consequences on what it means to be human, how we relate not only to each other but our coexistence in this sphere. [1]The posthuman, Rosi Braidotti, 2013 [2,4] Next Nature: Nature Changes Along with Us, Koert van Mensvoort, Hendrik-Jan Grievink, 2012 [3] Lilla drevet podcast, episode 182, 2018

No description available.

<p>1D engine simulations of turbocharged engines are difficult to <!-- @page { size: 21cm 29.7cm; margin: 2cm } P { margin-bottom: 0.21cm } --></p><p>Techniques that can increase the SI- engine efficiency while keeping the emissions very low is to reduce the engine displacement volume combined with a charging system. Advanced systems are needed for an effective boosting of the engine and today 1D engine simulation tools are often used for their optimization.</p><p>This thesis concerns 1D engine simulation of a turbocharged SI engine and the introduction of CFD computations on components as a way to assess inaccuracies in the 1D model.</p><p>1D engine simulations have been performed on a turbocharged SI engine and the results have been validated by on-engine measurements in test cell. The operating points considered have been in the engine’s low speed and load region, with the turbocharger’s waste-gate closed.</p><p>The instantaneous on-engine turbine efficiency was calculated for two different turbochargers based on high frequency measurements in test cell. Unfortunately the instantaneous mass flow rates and temperatures directly upstream and downstream of the turbine could not be measured and simulated values from the calibrated engine model were used. The on-engine turbine efficiency was compared with the efficiency computed by the 1D code using steady flow data to describe the turbine performance.</p><p>The results show that the on-engine turbine efficiency shows a hysteretic effect over the exhaust pulse so that the discrepancy between measured and quasi-steady values increases for decreasing mass flow rate after a pulse peak.</p><p>Flow modeling in pipe geometries that can be representative to those of an exhaust manifold, single bent pipes and double bent pipes and also the outer runners of an exhaust manifold, have been computed in both 1D and 3D under steady and pulsating flow conditions. The results have been compared in terms of pressure losses.</p><p>The results show that calculated pressure gradient for a straight pipe under steady flow is similar using either 1D or 3D computations. The calculated pressure drop over a bend is clearly higher1D engine simulations of turbocharged engines are difficult to <!-- @page { size: 21cm 29.7cm; margin: 2cm } P { margin-bottom: 0.21cm } -->using 1D computations compared to 3D computations, both for steady and pulsating flow. Also, the slow decay of the secondary flow structure that develops over a bend, gives a higher pressure gradient in the 3D calculations compared to the 1D calculation in the straight pipe parts downstream of a bend.</p><p> </p>

Thesis--PlanB (M.S.)--University of Wisconsin--Stout, 1998. / Description based on microfiche version record. Includes bibliographical references.

Thesis--PlanB (M.S.)--University of Wisconsin--Stout, 1998. / Description based on microfiche version record. Includes bibliographical references.