The workflow and process of graphic design is today streamlined by the usage of our tools such as softwares. However, this doesn’t mean that designers must restrict themselves from working outside an established practice largely determined by such software. Implementing programming and generative design as a method in the development of graphic design can lead to new insights and different perspectives. Proven to be an asset in the creation of visual material the method falls short as generative design is co-dependent on both the designer and user. Though complicated and expensive, generative design proves useful when working with realtime data and as a tool for generating new ideas. Working experimentally with under-utilized tools can help the development of new trends and methods within the field of graphic design.

Detta arbete handlar om designprocessen bakom ett pedagogiskt arbetsverktyg för förskolepersonal. Grundtanken med det pedagogiska verktygsbältet är att höja statusen, underlätta arbetsdagen och den pedagogiska dokumentationen för förskolepersonal. Genom intervjuer och observationsstudier kunde jag se ett behov hos förskolepersonal av att praktiskt kunna organisera och bära med sig det de behövde under dagen. Genom att läsa rapporter och artiklar fick jag förståelse för att arbetskläder har både för- och nackdelar. Arbetskläder ger en identitet och möjliggör det positiva med att kunna klä av och på sig arbetsdagen, men de kan även medföra att personalen blir föremål för de stereotypa förväntningar som arbetskläder ger. Ett verktygsbälte anpassat för personalens behov skulle därför kunna stärka identiteten samtidigt som det ger en möjlighet att uttrycka sin personliga stil.   Jag använde mig av enkätundersökningar för att bättre förstå vilka produkter förskolepersonal ville ha i ett sådant verktygsbälte, samt vilka egenskaper bältet skulle ha. Det som framkom var att det var viktigt att bältet var smidigt, flexibelt, tvättbart och med möjlighet att organisera sakerna däri. Jag sydde upp tre funktionella prototyper som förskolepersonal fick använda under fem arbetsdagar för att se vad de bar med sig och vilka lösningar som fungerade bäst. Utifrån resultatet av användartester och enkäter syddes en slutmodell upp i bävernylon. Denna testades i sin tur i förskolan under en dag och både testpersonen och hennes kollegor sa att de gärna hade velat använda produkten i verksamheten.

The purpose of this work has been to explore if objects can strengthen communication between psychologists and children in therapy. Can objects together with tactility as a tool help us to find and put words to feelings and episodes in our lives? I have explored this by interviewing three psychologists on several occasions who work with children. I have planned and implemented a three-day workshop with four children in the age of 7. Working in 3D as a method of sketching and testing has been an important part of the process.The work resulted in a tactile material consisting of 18 objects that have different material qualities. During tests the material has been helpful in order tostart conversation and getting help describing emotions. My hope is that this material will continued to be tested and developed.

Recycled Posthuman Furniture – What has furniture become is a project that aims to explore the relationship between humans and furniture from the post-humanist perspective. Post-humanism is understood here as our capacity of giving non-human items the sense of humanity in terms of ethics and effects. Accordingly, we might consider the furniture has some certain human values. Therefore, this paper aims to demonstrate a new relationship compared with current states through a transdisciplinary design and speculative design with the goal of changing people’s understanding towards discarded furniture. Through the knowledge of current issues, this paper is tended to bring different perspectives of thoughts and questions in order to be aware of surrounding issues with the hope of changing current states to deliver a better future by chance. As the result, this paper puts forward a new sustainable lifestyle which advocates equality and inclusiveness among human and nonhuman and thus helps to solve survival crisis. Human is not the almighty of the world and all the existences are valuable as well. As humans, we must change our thinking patterns and begin accepting and treating other nonhuman equally. We are required to wake emotions that are hiding deep down in our heart and apply them on furniture and treat rejected and abandoned furniture as human. Only in this way can we decrease environmental pressure, reduce the discharge of solid waste and deal with the global crisis. Taking furniture as a start, humans should open their emotions and care for all objects that are living on the earth, focus on collective interest instead of individual interest.

The designer explores how to improve souvenir design in the real market by questioning the issues of authenticity and the need of sustainable strategies. It takes the city of Växjö as a start point for a touristic place and analyses different categories. Through observations and interviews, the issues are confirmed and a design brief is made. Based on theories of product semantics and emotional design, the result from the investigation summarised to suggest guide for souvenir design. The guide is illustrated in a series of videos meant to anyone working in the souvenir industry.

Do desenho industrial ao design uma bibliografia crítica para a disciplina apresenta um caráter bibliográfico ou antológico, que tem como um de seus principais objetivos tornar-se um instrumento para futuras pesquisas direcionadas ao tema. Isto se dá por meio da construção de um repertório significativo de informações, apoiado em três parâmetros fundamentais: artigos, exposições e diretrizes do ensino da disciplina. Trata-se, portanto, de um inventário da produção teórica e cultural relativa à disciplina, localizado entre as décadas de 50, 60 e 70. Deste amplo panorama, são destacados e analisados os artigos mais significativos para a construção e definição do campo de conhecimento. É nos anos 60 que o panorama da historiografia sobre arquitetura e design contemporâneos é enriquecido com novas contribuicões mais atentas a considerar o peso e as conquistas do movimento moderno. Contemporaneamente também é possível identificar uma crise da noção de desenho industrial. É neste mesmo período que a literatura internacional abandona nomenclaturas como industrial design, que fora traduzido como desenho industrial, enfocando sobretudo o desenho do produto, e passa a utilizar somente o termo inglês design, com significado mais amplo, incluindo as complexas relações entre a produção e os aspectos tecnológicos, sociais, políticos e psicológicos que a envolvem. Dessa forma, a dissertação tenta compreender o processo de construção da noção de desenho industrial apoiada no modelo modernista e identificar, a partir dos anos 60 e 70, como esta crise é absorvida no ambiente brasileiro. O intento de estabelecer um repertório de referências bibliográficas e contribuir para a reflexão aprofundada sobre o significado da disciplina na contemporaneidade não pretendeu estabelecer uma definição para a área em questão, mas somente contribuir à reflexão sobre a disciplina no país evidenciando a complexidade do debate, ao ampliar a discussão sobre os parâmetros nos quais deverá se apoiar a prática e o ensino da disciplina no Brasil. / From industrial design to design - a critical bibliography to the subject presents a bibliographic or anthological character, which has as one of its main goals become a basis point for future related research through the construction of a significant repertoire of information, supported on three basic parameters: articles, exhibitions and guidelines for teaching the subject. Therefore, it is an inventory of theoretical and cultural production, during 50s, 60s and 70s. From this broad panorama, the most significant articles for the construction and definition of the field of knowledge are highlighted and analyzed. It is in the sixties that the historiography on contemporary architecture and design panorama is improved with new and more attentive contributions to consider the importance and the conquers of the modern movement. At the same time, is also possible to identify a crisis of the concept of industrial design. In this same period, the international literature leave behind nomenclatures as industrial design, which was translated as desenho industrial, focused on the design of the product. The English word design will be used with wider meaning, including the complex relationships between production and technological, social, political, psychological aspects that surrounds the final result product. The work tries to understand the process of the construction of the concept of industrial design based in the modernist models and identify, from the sixties and seventies, as this crisis gets in the brazilian scene. The purpose of establish a repertoire of bibliographic references and contribute to the reflection on the meaning of this subject nowadays do not intend to establish a definition for the questions here presented, but just to contribute to the reflection on the topics in this country, highlighting the complexity of the debate, expanding the discussion on the parameters which should support the practice and teaching of the subject in Brazil.

Prepositions describes relations between different things. In this collection thosethings refers to the soft and moving body, hard and stiff sculptural shapes, colours,prints, fabrics and shoes.I have a great passion for sculptural shapes and for this collection I have used thispassion as an important source for inspiration. Interesting and challenging meetingsbetween the choice of especially materials and colours is another aspect of this project.Wholeness has a significant meaning to me, as the important thing is not to put focuson the garments themselves rather than the combination of all elements, in the compositionof each outfit and in the line-up. I have looked at the different componentssuch as the sculptural shapes, garments, colours, prints and shoes as if they wherebuilding blocks. I have arranged and rearranged and combined those building blocksin different ways trying to achieve a dynamic and balanced composition. I have triedto simplify all parts as much as possible when aiming for a clear and strong result. / Program: Modedesignutbildningen

Prepositions describes relations between different things. In this collection thosethings refers to the soft and moving body, hard and stiff sculptural shapes, colours,prints, fabrics and shoes.I have a great passion for sculptural shapes and for this collection I have used thispassion as an important source for inspiration. Interesting and challenging meetingsbetween the choice of especially materials and colours is another aspect of this project.Wholeness has a significant meaning to me, as the important thing is not to put focuson the garments themselves rather than the combination of all elements, in the compositionof each outfit and in the line-up. I have looked at the different componentssuch as the sculptural shapes, garments, colours, prints and shoes as if they wherebuilding blocks. I have arranged and rearranged and combined those building blocksin different ways trying to achieve a dynamic and balanced composition. I have triedto simplify all parts as much as possible when aiming for a clear and strong result. / Program: Modedesignutbildningen

Dissertação (mestrado)—Universidade de Brasília, Instituto de Artes, Programa de Pós-Graduação em Design, 2018. / Questões relativas à autoria permeiam o campo do design desde sua origem e consolidação como disciplina, envolvendo institucionalização da profissão, prática projetual e contextos sociopolíticos. Nesta pesquisa, procuramos compreender como a autoria em design pode ser concebida e questionada, tanto historicamente quanto na atualidade. As discussões, de caráter ensaístico, apresentam questionamentos que englobam outros campos de pesquisa, como arte e teoria literária. A pesquisa se divide em dois momentos: compreensão teórica do tema e formulação e execução de um curso de extensão com o objetivo de propor uma abertura das reflexões junto à comunidade, ampliando o espaço institucional da universidade como lugar de reflexão. / Issues regarding authorship have permeated the field of design since its inception and consolidation as a discipline, involving the institutionalization of the profession, design practices and socio-political contexts. In this research, we seek to understand how authorship in design can be conceived and questioned, both historically and in current days. The discussion is essayistic and introduces questions that encompass other fields of study, such as arte and literary theory. The research is divided into two parts: the theoretical understanding of the topic in question and the subsequent formulation and implementation of an extension course aimed at opening the debate to the community, thus expanding the university’s institutional space as a place for reflection.

Tese de mestrado. Design Industrial. Faculdade de Engenharia. Universidade do Porto, Escola Superior de Artes e Design de Matosinhos. 2009