Diss. (sammanfattning) Linköping : Univ., 2005. Diss. (sammanfattning) Jönköping : Högsk., 2005. / Härtill 8 uppsatser.

Thesis--University of Western Ontario. / Includes bibliographical references (p. 131-134).

Thesis--University of Western Ontario. / Includes bibliographical references (p. 131-134).

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

No description available.

No description available.

No description available.

This project originated from my experience of an earthquake in September 2016, in Seoul, South Korea. It was an opportunity to re-think my disconnected relationship to nature. The sense of consciousness in nature and the symbiosis between humans and nature has been taken over by nature objectification. The question ´what if we change the perspective toward nature from objective to subjective?´ came to my mind. Subjective Nature means that humanity is emotionally intertwined with nature. In this project, I propose a sound installation that I named ‘Swing Jam’. The intention is to translate the natural movement of pendulums into a sound experience. This could be poetically interpreted as ‘giving a voice to nature’. By experiencing sound, I wish to evoke an emotional connection between nature and human. By empowering nature and individual experiences through designing situations, I wish to open up the emotional dialogue between human and nature. In this project, I’d like to awaken the importance of individual and emotional experience that is the core of being in an ecosystem. Furthermore, this is an accessible dialogue between nature and human.

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.