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Accompagner l’intégration de la fabrication additive dans les grands groupes donneurs d’ordres devient crucial pour les sous-traitants. L’enseignement actuel des procédés et des règles de conception, limité à une vision techno-centrée, ne suffit pas pour projeter ses futures applications dans diverses industries telles que l’aéronautique, l’énergie, le médical, etc... D’un côté, les travaux sur la fabrication additive et les observations de terrain indiquent que les connaissances sur ses procédés, les matériaux et leur mise en œuvre sont régulièrement enrichies. D’un autre côté, les travaux de recherche en créativité montrent qu’il est possible de stimuler la capacité créative des individus pour les guider dans la génération d’idées et de concepts créatifs. Cette thèse explore alors un rapprochement possible entre créativité et fabrication additive, dans la perspective de proposer une méthode de créativité et des outils d’applications spécifiques au paradigme additif. Cette liaison vise à mettre en évidence des moyens de stimuler la créativité, dans le contexte spécifique de la fabrication additive. Cette approche a permis de faire émerger le rôle prépondérant des objets intermédiaires qui articulent les interactions entre plusieurs dimensions de la capacité créative : les motivations, les émotions, l’exploration des connaissances, l’alternance individu/collectif et l’organisation spatiale. Elle a aussi fait émerger le besoin de redéfinir les rôles de ces objets intermédiaires au regard de la fabrication additive. En ce sens, deux dispositifs opérationnels de stimulation, basés sur la manipulation d’objets tangibles, ont été conçus puis testés dans des contextes industriels. Les résultats expérimentaux montrent que l’exploration des connaissances matérialisées par ces dispositifs favorise la génération d’idées créatives qui peuvent ouvrir à de futures applications de la fabrication additive. Finalement, une méthode de Créativité par et pour la fabrication additive est proposée. Elle permet d’enrichir à la fois les pratiques méthodologiques des sciences de la conception et les pratiques opérationnelles sur deux terrains : celui de l’industrie de la fabrication additive et celui de l’innovation. / Emphasizing the integration of Additive Manufacturing (AM) into big industrial companies becomes crucial for subcontractors. Teaching additive processes and design rules is a techno-centric vision. It is not sufficient to project future applications of additive manufacturing in various industries such as aeronautics, energy, medical, etc. On one hand, the state of the art and field observations show that AM knowledge is steadily increasing. On the other hand, the state of the art about creativity shows that individuals creative capacity can be stimulated to guide them to the generation of creative ideas and concepts. This thesis then explores a possible linking between AM and creativity in order to propose a methodology and its application tools to stimulate creativity, in the specific context of additive manufacturing. This approach allowed us to bring out the major role of intermediate objects which articulate the interactions between several dimensions of the creative capacity: motivations, emotions, knowledge exploration, individual/collective work phases and spatial organization. It also highlighted the need for a new definition of intermediate objects’ roles regarding additive manufacturing. In this sense, we designed two operational devices, based on sensory manipulation of tangible objects, and tested them in real industrial contexts. Our experimental results show that the exploration of the knowledge embodied in these devices emphasizes the generation of creative ideas opening to potential applications of additive manufacturing. Finally, a model of Creativity Through Additive Manufacturing (CTAM) has been proposed. It enables us to contribute both to the methodological practices of design science and operational practices in two fields: the additive manufacturing industry and the field of innovation.

De flesta män är för jämställdhet, de flesta män är emot våld och de flesta män gör absolut ingenting för jämställdhet. “Oj men så kan du inte skriva då kommer du förlora deras intresse” det var vad en vän varnade mig om, att ni män skulle bli rädda, känna er påhoppade eller bli arga. Men det här examensarbetet är inte till för att vara er män till lags, det är till för att skapa reaktion, engagemang och diskussion män emellan.  Projektet ämnar att undersöka hur grafisk design kan vara en bidragande faktor till eget engagemang inom jämställdhet. Konceptet Don’t be an asshole brewery är resultatet av denna undersökning, ett alkoholfritt ölbryggeri som utmanar dagens bild av manlighet. / Most men are for equality, most men are against violence and most men do absolutely nothing for equality. "Oh but you can’t write that then you just might lose their interest" that was what a friend warned me about, that you men would be scared, feel attacked or get angry. But this thesis is not meant to be comfortable, it is meant to create reaction, involvement and discussion between men. The project aims to investigate how graphic design can be a contributing factor to one's own involvement in equality. The concept Don't be an asshole brewery is the result of this study, a non-alcoholic brewery that challenges today's image of masculinity.

I dagens samhälle finns en allmänt negativ inställning till klimakteriet som grundar sig i genusnormer. Majoriteten av de metoder som finns för att behandla klimakteriebesvär är medicinska och de personer som av olika anledningar inte använder dem lämnas utan alternativ.Den här studien undersökte hur produktdesign kan användas för att underlätta klimakteriebesvär och samtidigt synliggöra klimakteriet. Syftet var att synliggöra klimakteriet och genom det bidra till en positiv inställning till det. Det konkreta målet var att ta fram ett förslag på en produkt som i största möjliga mån uppnår syftet. Studien vilar på en teoretisk grund av genusvetenskap, historisk syn på gynekologin och kvinnosyn, normkritik, normkreativitet samt normkreativ- och användarcentrerad design. Den empiriska insamlingen bestod huvudsakligen av intervjuer och diskussioner med representanter för målgruppen (personer med klimakteriebesvär) samt undersökningar av den befintliga marknaden för klimakterieprodukter och varför den ser ut som den gör.Studiens slutsats visar att en produkt som ska kunna underlätta klimakteriebesvär och samtidigt synliggöra klimakteriet måste uppfylla tre kriterier; underlätta besvären rent praktiskt, vara uppseendeväckande samt vara något som målgruppen är bekväm med att använda bland folk. Den produkt som har tagits fram i den här studien ses enbart som ett av många möjliga lösningsförslag då det inte finns ett korrekt svar på hur en klimakterieprodukt kan se ut eller fungera. Genom att se bortom de normer som vanligtvis styr hur klimakteriebesvär behandlas går det att ta fram nya innovativa alternativ. / Due to gender norms, the general attitude towards menopause in today’s society is negative. The majority of available methods to ease menopause symptoms are medical alternatives and the ones who choose not to use those, for different reasons, are left without an option.This study examined how product design can be used to ease menopausal related problems and contribute to put focus on menopause. The purpose was to make menopause more visible and by that contribute to a positive attitude towards it. The overarching goal was to develop a proposal for a product achieving that. The study relies on a theoretical foundation of gender studies, a historical view of gynecology and perception of women, norm criticism, norm creativity, norm creative design and human-centered design. The empirical evidence consisted mainly of interviews and discussions with representatives from the target group (people with menopausal related problems) and market research of existing menopausal products.The conclusion of the study shows that for making it possible for a product to both ease menopausal problems and make menopause more visible it needs to fulfil three criteria; in a way practically ease the symptoms, be eye-catching and be something the target group are comfortable using around other people. The product that has been developed in this study is only to be considered as one of many possible solutions since there is no correct answer to how a menopausal product should look or function. By moving beyond the norms, that usually control how menopausal problems are treated, it is possible to develop new and innovative alternatives.

This research investigates the position of creativity within graphic design education in general, and within the Omani educational context specifically. It situates itself among three realms: education, design, and creativity, investigating the relationships, effectiveness, and interrogations among these three topics. Creativity is defined within this research and in relation to graphic design education as problem solving , which is explained also as a cultural activity, or a cultural production. Graphic designers can involve themselves effectively in solving communication, social, and cultural problems that are classified as wicked problems , which usually require creative solutions. It is argued that Omani graphic designers should be creative problem solvers and able to find effective solutions for these problems. Yet this is not the case in Oman, at least from an educational point of view. The research problem is that the Omani design education system lacks a framework that recognises creativity as an important concept in education. Such a lack creates a twofold problem: 1) underestimating the importance of creativity in Omani design education; and 2) a shortage of pedagogical structured programmes that can enhance students creativity. It is argued that this problem is a result of the neglected situation of creativity in Arabic traditional education in general. Traditional education usually does not support creative thinking in design students, which consequently minimises their roles in social and cultural change. Based on the above, this research aims to develop a pedagogical model that can enhance and promote creative potential within Omani graphic design students. This aim can be achieved through re-establishing the position of creativity within Omani design education and valuing creativity as integrated part of graphic design. It proposes that the pedagogical model can offer a systematic approach for lecturers, to guide them into the best practice to enhance the creative potential of their students. Therefore, this research, and the proposed model, is the first step towards improving the position of creativity in Omani design educational systems in general. The model would propose to help Omani graphic design students to develop their creative problem solving abilities, which can allow them to effectively find solutions for several social and cultural wicked problems faced in Oman, such as the increased rate of car accidents nationally). The model will contain some creative-thinking techniques, and some pedagogical strategies that are already used internationally in education to improve creativity. The relevant literature has been reviewed to study the techniques and strategies used internationally to improve the creative potential of graphic design students. A qualitative interpretative methodology was used to answer the research questions and fulfil the aims. A survey approach was used for this research, implementing two methods: questionnaires and interviews. The online questionnaire was conducted with 33 international participants. It investigated how creativity is defined within graphic design contexts; whether creativity can be taught or enhanced; if yes, How, and by which techniques and strategies? Which curriculum contents are most suitable and effective? And how to assess creativity within graphic design education?. The same set of questions was asked in face-to-face interviews conducted with 39 design lecturers. The participants in these interviews were local lecturers who teach graphic design courses at six Omani institutions. All of the collected data were analysed by a thematic analysis method, by coding and categorising them according to different themes that had been extracted earlier from the literature. The contribution of this research is in defining the concept of creativity through scientific research; more specifically by practical research conducting an international survey and local interviews. Through this approach, this research has collected ideas, insights and trends about creativity in graphic design and how it can be developed. Also, this research has advanced knowledge of the relationships among graphic design, creativity, and education, specifically in the Arabic region. It is an attempt to emphasise this new field. Moreover, this research has given a snapshot of differing views regarding creativity in design education as perceived by international lecturers versus Omani lecturers, through conducting a cross-cultural study by asking these two groups the same questions, which was an interesting comparison. Finally, the collected data were utilised to develop the proposed pedagogical model designed for graphic design lecturers who teach design courses within Omani design education. The pedagogical model is the main contribution of this research. It would be suggested to the Omani Ministry of Higher Education that the model should be part of the Omani undergraduate graphic design curriculum.

綜觀歷年來多篇的空間環境與學習之相關研究，可以了解學習會直接與間接的受到外在環境的影響。因此學校建築空間甚至是校園創意設計若規劃完善，不僅是安全、舒適的學習環境，本身更是一套豐富且吸引人的教材，能夠激發幼兒的學習興趣與動力。幼稚園是學前階段的幼兒除了家庭以外接觸時間最長的地方，整體空間與情境的設計，應具活潑生動、自由開放的學習氣氛，這皆有助於幼兒發展想像力與創造力。 本研究目的旨在發現臺灣地區之公立專設幼稚園在校園創意設計上的表現情形，並探討這些公立專設幼稚園在校園創意設計規劃的現況，試擬具體之建議，希望能提供國內幼教經營者及教師在幼稚園校園創意設計與規畫時之參考。 本研究調查對象為臺灣地區14所公立專設幼稚園，訪談對象為該園所的園長及兩位教師，共計12位園長（臺南市三所幼稚園為同一位園長）及28位教師。實地觀察各幼稚園校園創意設計的表現情形，並訪問園長及教師對該園校園創意設計的意見與想法，以對校園創意設計規劃歷程進行了解。在資料分析上，觀察與訪談主要以描述性的方式記錄，校園創意設計的運用情形使用次數分配及皮爾森相關係數進行分析。 本研究結果如下： 一、幼稚園校園創意設計求新、求變原則最容易施作表現最多；求精原則 若妥善保存及維護，則將成為具價值性之教育設施；求進原則融入課 程與教學掌握得當；求絕與求妙原則表現較少，若能掌握要訣，則可 節省經費、增益設施功能。 二、校園創意設計的規劃理念與原則，強調自然豐富的教育環境，依園所 的物理條件進行規劃，重視安全性、教育性、多元性、多用性，並達 到節約資源的效果。 三、校園創意設計在園舍建築等硬體上主要由建築師決定，園長及教師表 達需求、參與討論，園內的校園創意設計主要由園長及教師設計，幼 兒主要參與班級空間及與課程相關的作品上。 四、園長及教師對校園創意設計規劃時的建議，面臨困境轉換正面的想 法，持續的思考與相互觀摩，考量幼兒的發展與需求則相信能造就園 所特有的創意設計特色。 最後依據本研究結果的分析與結論，對於教育當局、幼稚園及後續的研究者提出具體建議以茲參考。 / After making a comprehensive survey of learning environment, we can come to the conclusion that the external environment will influence learning conditions through direct and indirect ways. That is, if it plans well in school environment or school creative design, not only a safe and comfortable learning space it will be, but also a unit of abounding and attractive teaching materials. It can help young children develop their interests and enthusiasm. Kindergarten is, undoubtedly, the place that young children in preschool stage spend almost the most time to stay, if the family part is excluded. Therefore, the atmosphere of overall environment design should be active, colorful and free so that it will be helpful to develop children’s imagination and creativity. The purpose of the research is to probe into the recent situation of school creative design in independent public kindergartens in Taiwan. Ultimately, the researcher provides some suggestions to preschool workers and teachers as reference while they carry school creative design into execution after all. In this study, 12 kindergarten directors (3 kindergartens in Tainan were the same one) and 28 teachers of 14 independent public kindergartens would be interviewed and inquired about the concepts, ideas and feelings about school creative design of their kindergartens, to obtain a complete personal conceptions of school creative design. In data analysis, the data of observation and interview is recorded descriptively mainly. The statistics is gathered by calculating the numbers of how each school matches the principle of school creative design, and Pearson’s correlations coefficient is used as well to analyze the relationship between each principle, the category in campus, and kindergarten background items. The research results are listed as follows: 1. In the application of school creative design in independent public kindergartens, the principle of innovation is much easier to practice, so the statistics results are much higher than others. The principle of variety has better performance by holding the characteristic of adding or transferring the function. If the principle of elegance has a well policies of maintenances to keep and maintain, that will be valuable education facilities. The principle of improvement get well done by space or facilities to enter teaching and course. The principle of excellence and delicacy perform less in this study. After all, if policy makers take notice of the action points above, it will not only save money, but contribute to the function of facilities. 2. The concepts and principles of school creative design is to design the kindergarten in accordance with conditions of geographical and material features, attach importance of safety, education, variety, multi-function, and achieve the effect of resources economizing after all. The ultimate purpose is to provide a natural and abounding education environment. 3. The school buildings of school creative design are decided by the architect for the most part, kindergarten directors and teachers also express their need, and participate in discussion. Inside the kindergarten, learning environment of school creative design is planed mainly by the directors and teachers, while children mainly participate in classroom, hallway of class space, and works related to the courses. 4. That kindergarten directors and teachers’ suggestions for school creative design, communicating with each other while under difficulties, continuous thinking and learning from others. taking account of the development and need of young children is believed to create their features of individual school creative design. After all, according to the analysis and results of the study, some suggestions are offered to educational authorities, kindergartens, directors, teachers, and those who go further studies.

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As alpine skiing is becoming more and more popular the need for sustainable products are increasing in order to enable great skiing and snowy winters in the future. The ski industry is unfortunately far behind many other industries when it comes to sustainability and the shift towards sustainable skis is going slow. Norse Skis is a unique ski manufacturer as they have a sustainable profile and are always in the lookout for new possibilities to take that forward. The goal in this master thesis project is to develop a pair of sustainable skis that will widen Norse Skis’ product catalog. The project was conducted in collaboration with Norse Skis as a master thesis project within the degree of Industrial Design Engineering at Luleå University of Technology. During the development of the skis, the user-centered design process Design Thinking Process was used. The process was divided into three phases; Inspiration, Ideation, and Implementation. During the design process, most of the energy was put on creating a ski that meets the user needs and is as sustainable as possible. Through constant dialog with the users, feedback and evaluation were gained to customize the product to the needs and opinions of the users. To develop skis that are as sustainable as possible, the project has had its base in the three aspects of sustainability; ecological, economic, and social, which are defined in the Brundtland report (World Commission on Environment and Development, 1987).  At the beginning of the project, a deep understanding of alpine skis and alpine skiing was gathered. This was followed by a thorough examination of the users through surveys and user observations. It was identified that the users spent most of their time skiing on the piste, but had a vision of being an off-piste skier. This led to the conclusion of designing a ski that is high performing on-piste but also gives the user the possibility to great off-piste skiing. In a benchmarking, Norse Skis’ current skis were compared to their competitors’ to identify Norse Skis’ strengths and what could be improved. When an understanding of the product and the users was gained, the project proceeded into the ideation phase. In the ideation phase solutions on lengths, shapes, names, colors, graphics, and materials were created. Through user surveys, three concepts were created which eventually resulted in one final design. The project result is a pair of 90 mm wide skis with focus on sustainability that are high performing and playful in the piste while providing a nice off-piste ride as well. From the social aspect, they are created with the skier in mind instead of either men, women, or some specific age group. By using materials that are more environmentally friendly than what is used in Norse Skis’ skis today and that either have the same or lower price, the skis are more sustainable from both an ecologic and economic perspective. The design has been approved by the users which led to the recommendation of broadening Norse Skis’ current product catalog with the ski that was the result of this master thesis project. / Samtidigt som skidåkning blir mer och mer populärt för var dag som går så ökar behovet av hållbara produkter som möjliggör framtida snöiga vintrar och bra skidåkning. Tyvärr ligger dagens skidtillverkare långt bakom många andra branscher när det kommer till hållbarhet och skiftet mot hållbara skidor går trögt. Norse Skis är en unik skidtillverkare då de har en hållbar profil och ständigt letar efter möjligheter att komma ännu längre fram i utvecklingen. Målet i detta examensarbete är att utveckla ett par hållbara skidor som kan bredda Norse Skis produktkatalog. Projektet utfördes i samarbete med Norse Skis som ett examensarbete på Civilingenjör Teknisk Design med inriktning produktdesign vid Luleå Tekniska Universitet. Under utvecklingen av skidorna användes den användarcentrerade designprocessen Design Thinking Process som är uppdelad i tre faser; Inspiration, Ideation, och Implementation. Under designprocessen låg fokus på att skapa en skida som uppfyller användarbehoven och samtidigt är så hållbar som möjligt. Genom att hela tiden återkoppla med användarna för utvärdering och feedback kunde produkten anpassas efter deras behov och tycke. För att utveckla en så hållbara skida som möjligt har projektet utgått från de tre perspektiven av hållbarhet; ekologisk, ekonomisk, och social som identifieras i Brundtlandsrapporten (World Commission on Environment and Development, 1987).  I projektets startskede införskaffades en djup förståelse alpina skidor och alpin skidåkning. Detta följdes av djupdykning i användaren genom enkäter och användarobservationer. Det identifierades att användaren spenderar mest tid i pisten, men har en vision om att vara en off-pist åkare. Detta ledde fram till slutsatsen att designa en skida som är högpresterande i pisten med också ger användaren möjlighet till bra off-pist åkning. I en benchmarking jämfördes sedan Norse Skis nuvarande skidor med konkurrenternas för att identifiera Norse Skis styrkor och vad som kunde göras bättre. När en förståelse över produkten och användarna skapats gick projektet in i idégeneringsfasen. Där skapade olika lösningsförslag på längder, former, namn, färg, grafik, och material. Genom användarundersökningar kunde tre slutkoncept tas fram som slutligen resulterade i ett slutgiligt resultat. Projektresultatet är ett par 90 mm breda skidor med fokus på hållbarhet som är högpresterande och lekfulla i pisten som även ger en härlig åkning utanför. Ur den sociala aspekten är de gjorda för skidåkare istället för enbart män, kvinnor eller någon specifik åldersgrupp. Genom användning av material som är miljövänligare än de som Norse Skis tidigare använt och antingen har samma eller lägre pris så är skidor både hållbarare ur både ett ekologisk och ett ekonomiskt perspektiv. Designen har bekräftats av användarna vilket ledde till att rekommendationen att bredda Norses Skis produktkatalog med skidorna som var resultatet av detta examensarbete.