The purpose and underlying motivation for this project was to examine the procedure of garment construction methods, by specifically choosing to abandon traditional rules and standards that are associated with mass production. I chose to explore domestic hand-craft made by women in New Zealand in their domestic situation, focusing on hand-stitched techniques from the past reflecting a nostalgic value which potentially contributed to the garment’s construction process. The project sought to utilize the re-using of materials by incorporating previously made hand-craft; and looked at the remaking of second-hand garments by means of deconstruction and reconstruction. Traditional hand-craft, in this context, refers to the use of craft forms not governed by principles of efficiency, mass production or technology, allowing the garments to contain unique ‘one of a kind’ hand-made qualities. My studio practice specifically focused on exploring the relationship between hand-craft and garment construction, by researching their application and integration into the garment’s structure, along with disrupting the orderly traditional production process. I was not focusing on the finished garment’s design. The project provided an opportunity to refocus my attention on the hand-made, as I perceived that the skills required to produce these were being extinguished by modern lifestyles. Exploration promoted new discoveries by exposing the construction process and revealing unpredicted combinations. The project explored these ideas, resulting in a range of women’s garments that revealed, as part of their construction, hand-work which offered a modern variation of nostalgia. This project comprised of 80% practical work and will be accompanied by an exegesis with a value of 20%.

The purpose and underlying motivation for this project was to examine the procedure of garment construction methods, by specifically choosing to abandon traditional rules and standards that are associated with mass production. I chose to explore domestic hand-craft made by women in New Zealand in their domestic situation, focusing on hand-stitched techniques from the past reflecting a nostalgic value which potentially contributed to the garment’s construction process. The project sought to utilize the re-using of materials by incorporating previously made hand-craft; and looked at the remaking of second-hand garments by means of deconstruction and reconstruction. Traditional hand-craft, in this context, refers to the use of craft forms not governed by principles of efficiency, mass production or technology, allowing the garments to contain unique ‘one of a kind’ hand-made qualities. My studio practice specifically focused on exploring the relationship between hand-craft and garment construction, by researching their application and integration into the garment’s structure, along with disrupting the orderly traditional production process. I was not focusing on the finished garment’s design. The project provided an opportunity to refocus my attention on the hand-made, as I perceived that the skills required to produce these were being extinguished by modern lifestyles. Exploration promoted new discoveries by exposing the construction process and revealing unpredicted combinations. The project explored these ideas, resulting in a range of women’s garments that revealed, as part of their construction, hand-work which offered a modern variation of nostalgia. This project comprised of 80% practical work and will be accompanied by an exegesis with a value of 20%.

Detta projekt gjordes med syfte att få upp ögonen för problematiken kring hur mycket trämaterial som går till spillo hos diverse snickerier i Sverige. Material som är fullt funktionellt men som inte anses som användbart för möbeltillverkning och annan användning, mals ner och bränns efter det slängts på hög. I detta arbete har ett skivmaterial formgivits och designats av spillbitar i trä. Detta för att sedan kunna användas som dekoration på golv, väggar, tak och även möbler. På så sätt berättas träets livshistoria och samtidigt uppmärksammas träslaget som material och dess möjligheter inom inredningsdesign / The aim with this project was to act as an eye opener for the problematic regarding the respect for wooden waste materials thrown away every day at Swedish wood companies. A lot of material, that is completely functional, but is considered as too defect and therefore useless for wooded furniture factories, is grained down to dust and chippings to eventually getting burnt to ashes and stocked in piles.In this project, a wooden tile was designed and hand crafted from waste wood. The tile was created to use as a décor for floors and walls as well as ceilings and furniture. This to communicate the true life story of the wooden waste as well as to raise awareness of wood as a material and its possibilities in interior design.

This research examines the implementation process of blockchain technology and aims to identify prerequisites needed for this process. The study has been conducted through a case study at a Fair Trade handloom firm in Sri Lanka. Data has been collected through observations and semi-structured interviews with blockchain experts and employees at the case firm. The result is analysed through the TOE-framework. This research primary findings is divided into two categories, knowledge and willingness. Knowledge refers to usage of technical systems, awareness of how the firm's supply chain is built and knowledge of blockchain technology. Willingness refers to the ambition for constant improvement which is the crucial prerequisite for actually implementing blockchain technology. The firm’s knowledge and willingness to implement blockchain technology are the first stages of moving from Fair Trade certification to blockchain integration.

In this degree project I’m designing furniture for the human scale in the public space. More specifically for parks and squares in the city. As I am defining the human scale I am inspired by two main sources; the documentary Alive inside(2014) och Peter Gärdenfors Tankens vindlar(2005). The most important part of this definition is its inner logic, the idea that the human scale consists of two parts, that it is  in size close to mine  in spirit  personal. The first part determines proportion as related to the human body and the other describes the form essens. Through the workshop I gather the relevant data that gives form to the spirit, that is personal. In the workshop held with six elderly people in a home in the suburbs of Uppsala, we sat down and listened to music and worked with clay for one hour. The hand made clay sculptures are scanned and so digitalised and available for digital fabrication. This method of working with the design and production is also an attempt to work towards industrial production. So to make the design available for the city by avoiding high cost production. The data have been adjusted using Meshmixer and then realised physically through a collaboration with Scania and their large scale 5-axis CNC machine. The result is two pieces of furniture; one bench and one platform. In this first section of the report, under the title Contextualising and investigative discussion, I will describe to you why this project is important. Important to us, as people living our lives in the evolving city, creating a social standard or a social tradition together in the public space. In the next section, under the title Method of Work, I’ll go in to more extended detail describing separate parts of the design process as I’ll go through the practical aspects. In the third section, under the title The Concept and Implementing, I will sum up my initial thoughts in relation to the new information the project have generated.