Globaliseringen och den ökande konkurrensen har gjort att svenska företag inte kan konkurrera med pris på mogna marknader. Mjuka värden har tagit teknikens plats som strategisk konkurrensfaktor. Teknikorienterade företag har tvingats att skapa mjuka värden i sina produkter för att konkurrera mot de utländska lågprisaktörerna. För att tekniska företag ska kunna skapa mjuka värden krävs att de har ett nära samarbete mellan konstruktören och designern. Detta samarbete är beroende av flera faktorer för att uppnå ett tillfredställande resultat. Denna studie belyser de faktorer i samarbetet mellan designer och konstruktör som är viktiga för att skapa mervärde vid produktutvecklingen på en mättad marknad. Det empiriska materialet har samlats in från tre fallföretag och deras kunder. Empirin har studerats och analyserats mot teorier som författarna ansett viktiga för ämnet. Undersökningen är både av kvantitativ och av kvalitativ karaktär. Under denna intressanta studie har det skett sex stycken djupintervjuer med designers och konstruktörer på de tre fallföretagen. För att mäta validiteten i analysen av det empiriska materialet från intervjuerna har företagets kunder fått svara på en enkät om deras köpbeslut. Resultatet av undersökningen bekräftar vår teoretiska modell över hur ett effektivt samarbete leder till mervärde i produkten. Detta kan uppnås genom en simultan produktutveckling som präglas av en lärande kommunikation där kundbehovet är känt av båda parter. Processtyrning skall avse båda parter i deras arbete för att skapa ett maximalt mervärde.

Competition in the market of interior design during the last several years has drastically increased. The consumers of today are very conscious about what the market can offer and therefore they have high demands on the products. It is not only the function of the product that matters but also the design that makes a difference. Companies are becoming more aware of this and as a result they have to find a way to set themselves apart in order to attract customers. This realization has led designers and economists to cooperate in a different way than before. It is important that they are able to communicate with each other to reach a successful goal. The purpose of this study is to deeply analyze a product development process within a large departement store and to look into how the different parts cooperate and communicate with each other. The exam has been done through a qualitative method. Three personal interviews where held within the departement store with the design director, purchaser staff and designer. The theories of communication, design process as well as the value theory aim to serve as tools in the analysis of the evaluation problem. The study focused on cooperation, communication and feedback in the product development process. The conclusion we came to is that there is a conflict in communication between the purchasing staff and designers to company X because the communication has only been one way. The designer believes that communication is inadequate because it is not sufficiently structured and collaborative. The designer would like more feedback to be given. Having shared communication where the parties exchange ideas and being able to understand each other provides a more effective communication which can influence the collaboration between them in a positive way. Our conclusion is that feedback is a very important factor in communication and cooperation between the parties. Work in the product development process would be even more effective if they would make use of project planning.

Syftet med det här projektet är att redovisa ett system- och framtidsperspektiv på designprocessen och industridesignerns roll, vilket också ska resultera i en tydligare definiering och kartläggning av designprocessen samt angränsande ämnesområden. Omfattande faktainsamling gjordes därmed i form av litteraturstudier, studiebesök samt informationsökning på internet. Detta skapade sedan en god grund för kommande intervjuer. Intervjuerna genomfördes med representanter från både lärosäten och SVID samt med verksamma designers, detta i syfte att få fram olika perspektiv och synsätt på de specificerade områdena. Baserat på informationen från faktainsamlingsfasen samt intervjuerna, gjordes en kartläggning av designprocessen med en tydligare koppling till makro- och mikromiljön samt Design Management. För att tydliggöra ytterligare sammanställdes också frågeställningar som härrör till arbetsgången. Gällande Industridesignerrollen valde jag att (baserat på intervjuresultatet) visualisera en bild av tänkbara framtida fokusområden och kompetenser. Jag kan konstatera att designprocessen utvecklats till att innefatta mycket mer än ”design av produkter”. Numera talar man bl.a. om tjänstedesign, interaktionsdesign, upplevelseindustrin och hållbar utveckling, vilket gör arbetsgången än mer komplex. Detta genererar också ytterligare kompetenskrav på industridesignern, såsom beteendevetenskap, projektledning, marknadsföring samt inom miljöområdet. / The purpose of this project is to present a system- and future perspective on the design process and the role of the industrial designer, which also will result in a clearer definition and mapping of the design process and adjacent areas. Extensive research was made in form of studies in literature, visit to museum and searching information on the web. This provided a good foundation for the upcoming interviews. The interviews were carried out with representatives from universities and colleges of higher learning, representatives from SVID and industrial designers -which would provide different perspectives and point of views on the specified scope. Based on the information from the study phase and from the interviews, a mapping of the design process was made, with a clearer connection to macro- and micro environment and also Design Management. To clarify even more, I compiled applicable questions that correlate with the workflow. Regarding the role of the Industrial Designer, I decided to (based on the result from the interviews), visualize possible future areas and competencies. I can conclude that the design process has developed into something much more than “design of products”. Nowadays people often refer to service design, interaction design, creative industries and sustainable development, which make the workflow more complex. This also generates competence requirements on the industrial designer, requirements like behavioral science, project management, marketing, and environmental knowledge.

Arbetets syfte är att beskriva och förstå vad fem stycken framgångsrika svenska klädskapare själva uttrycker som avgörande för sin framgång. Med framgång menas i arbetet framgång ekonomiskt sett. Metoden för arbetet har varit en deskriptiv studie med utgångspunkt i fem kvalitativa intervjuer. Respondenter som har visat positivt resultat i de tre senaste årsboksluten har valts ut att deltaga. Resultatet visar vilka faktorer som klädskaparna själva uttrycker vara avgörande för sin framgång. Faktorer som egen stil, hög kvalité, god ekonomi, god kundkontakt, marknadsföring,prisbild leveranssäkerhet samt hårt och roligt arbete har framkommit.Arbetet öppnar upp för vidare studier genom att ge förslag på frågor att utreda.

The starting motivation of this study is to develop an intuitively strong approach to addressing architectural design problems through computational models. Within the scope of the thesis, the complexity of an architectural design problem is modeled computationally by translating the design reasoning into parameters, constraints and the relations between these. Such a model can easily become deterministic and defy its purpose, if it is customized with pre-defined and unchangeable relations between the constraints. This study acknowledges that the relations between design constraints are bound to change in architectural design problems, as exemplified in the graduation project of the author. As such, any computational design model should enable designers to modify the relations between constraints. The model should be open for modifications by the designer. v The findings of the research and the architectural design experiments in the showcase project suggest that this is possible if mass customized sequences of abstract, modifiable and reusable relations link the design constraints with each other in the model. Within the scope of this thesis, the designer actions are mass-customized sequences of relations that may be modified to fit the small design tasks of relating specific design constraints. They relate the constraints in sequence, and are mass customized in an abstract, modifiable and reusable manner. Within this study, they are encoded in Rhino Grasshopper definitions. As these mass customized relations are modifiable, they are seen as a remedy for enabling the designers to build models that meet individual and intuitive needs of the design problems that designers define.

Darbo tema pasirinkta neatsitiktinai. Integracija ir globalizacija šiolaikiniam įvaizdžio kūrėjui diktuoja savitus reikalavimus. Šukuosenų dizaineriai ir kirpėjai turi orientuotis šiuolaikinio gyvenimo meninėje situacijoje, pažinti šio laikmečio estetines ir menines normas. Šiandieniniame gyvenime visuomenėje matomo žmogaus įvaizdžio formavimas tapo labai svarbiu. Vizualinių formų, kuriomis disponuoja šiandieninio žmogaus paveikslas įvairovė labai didelė ir norint susikurti savitą stilių, atkreipti į save dėmesį, vien intelektualinių, emocinių pajėgų neužtenka. Neatskiriamomis žmogaus įvaizdžio dalimis yra aplinka, apranga, aksesuarai, laikysena ir, savaime suprantama, – šukuosena. Visa tai priklauso taikomosios dailės sričiai. O ar būsimieji šukuosenų dizaineriai ir kirpėjai gauna pakankamai teorinių žinių ir praktinių įgūdžių bei gebėjimų, tam, kad galėtų profesionaliai kurti savo klientų įvaizdį? Tai aktualu tiek paslaugų teikėjams, tiek ir gavėjams. Temos naujumą sąlygoja tai, kad nėra nagrinėta, kokią vietą ir reikšmę šukuosenų dizainerių ir kirpėjų rengime užima įvaizdžio kūrimas. Tyrimo objektas – šukuosenų dizainerių profesinis rengimas. Numatoma problema yra tame, kad profesiniam šukuosenų dizainerių ir kirpėjų mokymui parengtos programos yra labai skirtingos tiek skirtų valandų skaičiumi, tiek ir turiniu. Tyrimo tikslas – atskleisti įvaizdžio reikšmę, rengiant būsimuosius šukuosenų dizainerius ir kirpėjus. Tyrimo uždaviniai: 1. išanalizuoti su darbo tema... [toliau žr. visą tekstą] / The theme of the works is chosen not accidentally. Integration and globalization to nowadays artist of image dictate individual requests. Hairstyle designers and hairdressers have to orient in the situation of nowadays artistic life, know artistic and aesthetic norms of this period. In nowadays life in the society the formation of the visible persons image became very important. Visual forms which dispose nowadays human portrait, their variety is very big, trying to create individual style, to noble somebody’s person to yourself, only intellectual and emotional forces are not enough. Inseparable parts of persons image is environment, clothing, accessories, posture and of course hairstyle. It belongs to arts and crafts. Do future hairdressers and hair designers get enough theoretical and practical skills and facilities to professionally create their clients’ image? It is topical not only to the providers of the service but also to the recipients. The freshness of the theme conditions that this theme was not explored before, what place and meaning the creation of the image takes in the training of hair designers and hairdressers. The object of the research: professional training of hair designers. The problem is that the programs for the professional training of hair designers and hairdressers are very different in total hours and in their content. The aim of the research: to reveal the meaning of the image training future hair designers and hair dressers. The tasks of the... [to full text]

Klubinių baldų projektą sudaro fotelis, stalas ir pufas. Pasirinkta ši tema dėl tokių priežasčių: tokio tipo baldų pasirinkimas gan nedidelis, tokio tipo baldai salyginai brangūs ir ši tema man yra artima. Baldų formos ir spalvos įkvėptos gamtos – idėja kilo iš kokoso riešuto. Pagrindiniai kriterijai kuriais vadovautasi: funckionalumas, estetinė išvaizda, aukšta kokybė ir žema kaina. Sukurti baldai yra praktiški dėl keičiamų dažniausiai dėvimų dalių. Ištepus šias dalis ar mechaniškai pažeidus jas galima lengvai pakeisti, tai yra itin aktualu, nes nereikialauja papildomų išlaidų (transportavimas, baldo pervilkimas, darbo kaina). Dėl šios baldo savybės jį lengva pritaikyti prie interjero, gali būti keičiamos spalvos bei medžiagos (oda, audinys ir kt.). Fotelio galinėje dalyje pritvirtinta detalė yra tik mano pasiūlytas sprendinys, dėl baldo unikalios konstrukcijos, gali būti gaminami įvairūs kevalai, kitos formos detalės. Vietoje užrašo „COCONUT“ gali būti naudojami kiti užrašai, kuriuos siekiama populiarinti. Baigiamąjį darbą sudaro penki planšetai, aiškinamasis raštas, brėžinių aplankas, bukletas ir gaminys – fotelis. / Club furniture design project consists of a chair, a table and a pouffe. This theme was chosen for the following reasons: the choise of this type of furniture is relatively small, such furniture is expensive and the topic is close to me. The shape and the colour are inspired by nature – the coconut. The main criteria I followed in my diploma work were: functionality, aesthetic appearance, high quality and low price. The created furniture is practical because of the parts that can be replaced. These parts can be easily replaced when smeard or mechanically broken and that is really important because it does not require additional expenses (transportation, furniture reclothing, labour price). Due to these removable parts, the designed furniture can be easily adapted to any interior – the colour and the material of the parts can be changed (leather, cloth, ect.). The attached part in the back of the armchair is my solution, variuos parts of other form can be made and attached. Other notes that are wanted to be populatized can be used instead of „COCONUT“. The Bachelor work consists of five flatbeds, the note folder, the folder of drawings, brochure and the product – an armchair.

Bakalauro darbą sudaro: • Kūrybinė dalis: trys konceptualios ir funkcionalios rankinės-krepšiai jaunimui; • Projektinė dalis: 2 planšetai pristatantys kolekcijos idėją, aiškinamieji brėžiniai; • Teorinis aprašas: pateikiama netradicinius aksesuarus kuriančių dizainerių ir aksesuarų tendencijų analizė bei prieduose - verslo planas susietas su gaminių realizavimu. Pagrindinė kūrybinio darbo idėja – remiantis fiziologinėmis gyvūnų kūnų savybėmis, sukurti netradicinių rankinių-krepšių kolekciją, kuri padėtų suformuoti liberalesnį požiūrį į kasdienius aksesuarus ir praplėsti jų pasirinkimą. Originalaus dizaino, konceptualių idėjų trūkumas jaunimo rankinėse, įkvėpė sukurti netradicines rankines-krepšius laisvalaikiui, turinčius funkciją. Kuriant, prototipais prinkti trys gyvosios gamtos žinduoliai – kengūra, skujuotis ir šikšnosparnis. Jų kūnų funkciniai ypatumai interpretuoti krepšių dizaine: kengūros sterblė – kuprinė priekyje, skujuočio kūną dengiantis šarvas – kuprinės ir gobtuvo sintezė ir šikšnosparnio sparnas – krepšys tvirtinamas prie klubo ir rankos riešo. Kolekcijos pavadinimas „Urbe animalis“ (lot. miesto gyvūnai), atspindi pamatinę kolekcijos idėją – žmonių atsigręžimą į savo ištakas, į gyvają gamtą, o gaminiai skirti sąmoningam, šiuolaikiniam miesto jaunimui. Krepšių spalvinis sprendimas parinktas atsižvelgiant į žmogaus ir faunos aplinkoms būdingas spalvas – žalią, mėlyną ir pilką. / Thesis consists of: • Creative part: three conceptual and functional bags-baskets for youth; • Project part: 2 planchets, which represents idea of collection and explaining schemas; • Theoretical part: presented analysis of designers who are making non-traditional accessories and their tendencies as well enclose business plan related with realization of products. Main idea of creative work – referencing to physiological animal bodies’ characteristics, create non-traditional collection of bags-baskets, which would help to shape more liberal attitude to casual accessories and extend a choise of their. Lack of original design, conceptual ideas in bags for youth, had inspired to create non-traditional bags-baskets for leisure, containing functionality. Three mammalian animals were selected from nature as prototypes – kangaroo, pangolin and bat. Their body singularity and functionality are interpreted in bags design: pouch of kangaroo – bag on a front; shell, covering back of pangolin – synthesis of backpack and hood; wing of a bat – bag, which is attached between hip and wrist. Collection named “Urbe animalis” (lat. city animals), reflects the main idea of collection – human redounding to it’s origins, living nature and designated to conscious, contemporary city’s youth. Solution of colours were chosen considering to inherent human’s and fauna’s surroundings – green, blue and gray.

Inom kommunikationsbranschen råder det hög konkurrens om arbeten för både nyutexaminerade arbetssökande och de med erfarenhet. En viktig del i ansök-ningshandlingarna är en portfolio som visuellt visar personens kompetens och talang.Denna kvantitativa studie har genom en webbenkät med 50 byråer inom kom-munikationsbranschen undersökt hur de rekryterar ny personal samt deras per-spektiv kring portfolion i samband med detta. Studien har även syftat till att belysa skillnader i svaren beroende på byråernas storlek.Resultaten från enkäten visade att den vanligaste kanalen vid anställning inom kommunikationsbranschen är via personliga kontakter och att det är portfolions kvalité som väger tyngst vid anställning. Vid ansökan föredrog byråerna en digital portfolio men vid en arbetsintervju såg de helst en kombination av en fysisk och digital portfolio. Mindre skillnader fanns i svaren beroende på byrå-storleken. / In the communication industry, the competition is challenging amongst both new graduates looking for employment and those with experience. An im-portant part of the application is a portfolio that visually shows the person's skills and talents.An online questionnaire survey of 50 firms in the communications industry was used to investigate how they recruit new staff, as well as their perspective on the portfolio in this context. The study is also aimed at highlighting differences in the responses, depending on the size of the agencies.The results of the survey showed that the most common way for employment in the communications industry is through personal contacts, and that the quality of the portfolio is the most important when hiring. When applying for a job the agencies preferred to receive a digital portfolio, but at a job interview they pre-ferred a combination of a physical and digital portfolio. Minor differences were found in the responses depending on the size of the agency.

This study examined how the personal characteristics of instructional designers influenced their current instructional-design practice (ID). I first looked at the instructional designers’ perceptions of the relationship between their personal characteristics and their ID practice. I then looked at how these variables were used by the designers to influence their ID practice. The study was guided by the following questions: What specific personal characteristics instructional designers perceive as being an important influence on their ID practice? How do instructional designers use specific personal characteristics to influence their ID practice? How do instructional designers use specific personal characteristics to diversify their ID practice? Specific personal characteristics included personal attributes such as age, and experiences, including prior work experiences. Personal characteristics were informed by the literature, the pilot study, and personal experiences. This qualitative research study used interviews as the primary source for data collection. The theoretical framework was symbolic interactionism. A pilot study was used to test and fine-tune the research data-collection methods and analysis. A snowball sampling technique yielded 15 instructional designers working in a higher education setting in the United States. I included instructional designers who did not receive formal training in ID but who obtained the necessary skills to perform the job through experience. The data analysis followed the guidelines proposed by Miles and Huberman, Kvale and Brinkmann, Roulston, and Rubin and Rubin. Findings showed that instructional designers perceived that specific personal characteristics such as (a) gender, (b) age, (c) key people, (d) spirituality, (e) philosophy, (f) formative years, and experiences such as (a) education—student experiences in the classroom, and program preparation, and (b) work experiences—prior work experiences, and ID professional work experiences influenced their ID practice. These personal characteristics influenced the designers ID practice by adding a secondary perspective through their cultural and biological influences, and by directly informing their approach to process through educational and work experiences. Study results showed that specific personal characteristics and experience allow instructional designers to alter their current ID practice, thereby transforming a once-homogeneous process to a heterogeneous one.