<p>Examensarbetet är utfört vid Institutionen för teknik och naturvetenskap (ITN) vid Tekniska fakulteten, Linköpings universitet</p>

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Mitt examensarbete utforskar hur jag som designer kan använda mig av dekorativa element i designprocessen och hur dessa kan bidra till att skapa en personlig berättelse och identitet som designer. Mitt arbete ifrågasätter utvecklingen som skett mot det rena och minimalistiska genom litterära texter samt egna reflektioner och diskussioner där jag analyserar mig själv som kreatör och ornamentets betydelse för mig i mitt skapande.   Detta arbete fokuserar på de dekorativa element som driver min kreativa process framåt. Genom att kombinera litteraturstudier, skissarbete och självreflektion har jag utgått från personliga berättelser för att utforska hur ornament och mönster kan användas i utformningen av en möbelkollektion. Utforskandet leder fram till ett slutresultat som inte är en konkret berättelse  utan snarare en abstrakt tolkning.  Det fysiska arbetet tar stilinspiration från jugendstilen och använder tekniker som intarsia, tapetdesign och textiltryck för att skapa dekorativa möbler som är en del i mitt personliga narrativ. Berättelsen om förändring representerat genom bilder och mönster med utgångspunkt i tre tapeter som sedan används som en grund för designen av tre möbler. Jag anser att ska möbler betyda något och ett sätt att åstadkomma detta är genom att ge möbeln en röst, en berättelse.  Arbetet representerar förändring genom tre stadier i livet: barndom, uppväxt och ålderdom. Slutsatserna belyser vikten av att integrera personliga och kulturella referenser i designprocessen för att skapa unika och meningsfulla verk, först och främst för mig som kreatör, men med en förhoppning om att det även kan vara meningsfullt för åskådaren. Arbetet avslutas med reflektioner över lärdomar och potentiella framtida riktningar för vidare utforskning inom dekorativ design. / My thesis explores how, as a designer, I can utilize decorative elements in the design process and how these can contribute to creating a personal narrative and identity as a designer. My work questions the development towards the clean and minimalist through literary texts as well as personal reflections and discussions where I analyze myself as a creator and the significance of ornamentation in my creative process. This work focuses on the decorative elements that drive my creative process forward. By combining literature studies, sketch work, and self-reflection, I have drawn from personal stories to explore how ornaments and patterns can be used in the design of a furniture collection. The exploration leads to a final result that is not a concrete narrative but rather an abstract interpretation. The physical work draws stylistic inspiration from the Art Nouveau movement and employs techniques such as marquetry, wallpaper design, and textile printing to create decorative furniture that forms part of my personal narrative. The story of transformation is represented through images and patterns based on three wallpapers, which then serve as the foundation for the design of three pieces of furniture. I believe that furniture should mean something, and one way to achieve this is by giving the furniture a voice, a story. The work represents transformation through three stages of life: childhood, adolescence, and old age. The conclusions highlight the importance of integrating personal and cultural references into the design process to create unique and meaningful works, primarily for me as a creator, but with the hope that it may also be meaningful to the viewer. The work concludes with reflections on the lessons learned and potential future directions for further exploration within decorative design.

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Motivated to contribute to preservation efforts in the gaming industry, this paper explores how a virtual museum can effectively exhibit digital games as interactive exhibits. Through a literature review and the development of a research prototype, a 3D, first-person, virtual museum puzzle game was created, following Research Through Design, the MDA framework, and Game-Based Learning principles. The prototype featured 25 game exhibitswith varying levels of interactivity, aiming to communicate the mechanics and aesthetics oftheir respective games to users. Four iterations were tested, revealing that interactivity enhanced user immersion, engagement, and learning. The study found that interactivity, visualcohesion, and fidelity improved user engagement, supporting existing research. The inclusion of contextual information, such as texts describing the games and game paratexts, improved users' understanding of the exhibited games and was beneficial in conjunction with theinteractive elements. However, potential limitations include the challenges of adapting games that do not match the virtual museum's format and user disengagement due to excessive text or imbalanced challenges, where too much or too little challenge was found to negatively affect the engagement.

This study has been conducted in collaboration with the company Profixio. The study has focused on examining their existing application in terms of navigation and search capabilities and based on identified needs and challenges of the target audience, being able to support a redesign of the interface.  The work has undergone a process where individuals from the target audience has been involved in various stages. Initially, a usability testing was conducted in a group setting where these individuals individually performed usability tests with the existing application followed by a collective discussion. Subsequently, the work progressed into a conceptual phase where sketches and lo-fi prototypes were developed and tested again with individuals from the target audience. In a final stage, a hi-fi prototype was usability tested. Two SUS surveys have also been conducted during the study, this was done to measure change in usability between the existing application and the hi-fi prototype. One conclusion of the study is that if the target audience is actively involved during the design process, their needs and challenges are discovered and shows what parts of the layout do not meet these needs. The problem that the current layout has today depends on different factors which together creates a ambiguity in the layout. Based on this problem, a concept is formed in the study based on principles and theories within interaction design, semiotics, graphic design and human centered design, the concept then evolves into a prototype that represents a design which creates value for the end users.

It is common for a design team to be handed a problem to solve for others. The handing over is normally referred to as a ‘briefing’ process, and the documentation of the starting point and what is to be done is known as a ‘brief’. It is known that the way we frame and understand a problem influences what paths we see to potential solutions. The aim of this thesis is to understand what makes a good design brief and to do so in order to create an empirically informed, and theoretically underpinned, typology of design briefs and the kind of search processes they are disposed to induce. Different bodies of literature have tried to grasp how design solves problems in order to understand designer’s behavior and ultimately facilitate or improve it. Distinctions can, and have been made, between different kinds of problem formulations, as well as different problem-solving approaches. This thesis aims to integrate two previously distinct literatures, search process from the organizational perspective developed by James G. March, Herbert A. Simon, Richard Cyert and others and Design and the Design Process from the perspectives of authors such as Donald Schön, Kees Dorst and Nigel Cross among others, to propose a typology of design briefs in order to ultimately facilitate problem formulation and subsequently facilitate the design process. The simple and immediate answer to the question of what makes a good design brief is: ‘that depends’. It depends on the design process to be followed (if there is one), it depends on the kind of goals that should be achieved, the time available, and it also depends on how much and what is known about the problem and potential solutions. Based on this, four ideal types of design briefs are articulated, including the expected associated search behavior and challenges of design teams. / Det är vanligt att ett designteam får ett problem att lösa åt andra. Överlämnandet kallas normalt en ”briefing” -process och dokumentationen av utgångspunkten och vad som ska göras kallas ett ”design brief ”. Det är känt att det sätt vi ramar in och förstår ett problem påverkar vilka vägar vi ser till potentiella lösningar. Syftet med denna avhandling är att förstå vad som gör ett bra ”design brief ” och att göra det för att skapa en empiriskt informerad och teoretiskt underbyggd typologi av design brief och vilken typ av sökprocesser de uppmuntrar. Olika litteratur har försökt förstå hur design löser problem för att förstå designerns beteende och i slutändan underlätta eller förbättra det. Skillnader kan och har gjorts mellan olika typer av problemformuleringar och olika problemlösningsmetoder. Denna avhandling syftar till att integrera två tidigare distinkta litteraturområden, sökprocess ur det organisatoriska perspektivet som utvecklats av James G. March, Herbert A. Simon, Richard Cyert och andra samt Design och designprocessen ur perspektiv av författare som Donald Schön, Kees Dorst och Nigel Cross bland andra för att föreslå en typologi av design brief för att underlätta problemformulering och därmed också underlätta designprocessen. Det enkla och omedelbara svaret på frågan om vad som gör ett bra design brief är: ”det beror på”. Det beror på designprocessen som ska följas (om det finns en), det beror på vilken typ av mål som ska uppnås, den tillgängliga tiden, och det beror också på hur mycket och vad som är känt om problemet och potentiella lösningar. Baserat på detta artikuleras fyra idealtyper av design brief, inklusive det förväntade associerade sökbeteendet och utmaningar för designteam. / <p>ISBN saknas i avhandlingen.</p>

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