My study challenges the status quo that seems to exist in the design of modern apartments, which is heavily influenced by the modernistic movement that flourished in early 20th century. Modernists strived to create a just and equal society, by challenging the social order and the traditional hierarchical system. The architecture of the time reflected these ideals and ultimately resulted in simplistic and repetitive designs that often formed box like interiors with standardised furniture. Consequently, these designs are detached from the individualism of the inhabitants, forcing people to sit, sleep, dine and socialise in a predefined space in a prescribed manner. My project is an artistic intervention to the BOX - the soulless interior of modern apartments. My aim is to explore and imagine alternative ways of existing within the box and push the boundaries of how we conduct daily activities in the living space.

Fordonstillverkare försöker ständigt utveckla sina bilar, för att stå ut från konkurrensen, genom att förbättra drivmedel, utseende och prestanda och många gånger kan små detaljer vara avgörande för kunden. En relativt ny utveckling är en elbil med lätt vikt för en till två personer. De modeller som finns i dagens läge skiljer sig en hel del ifrån varandra, vilket innebär att det finns en del andrum till att göra en unik design. Designen är viktig eftersom den påverkar vilken känsla och vilket intryck kunden får och designen av interiören är extra viktig eftersom kunden spenderar mest tid inuti bilen.Detta arbete genomförs för att skapa en sportig och futuristisk interiör till lågkostnadsbilen Ecoist Tian. Ett koncept av interiören runt om föraren kommer att tas fram och visualiseras. Förutom visualiseringen kommer även ett materialval och en hållfasthetsberäkning genomföras. För att ta fram ett koncept måste först kundbehoven fastställas genom intervju med Thomas Koch från Ecoist. Därefter utförs en extern sökning för att hitta lösningar på delproblem. Dessa lösningar används som inspiration och vidareutvecklas i den interna sökningen samt testas genom bodystorming. För att säkerställa att konceptet håller för de påfrestningar det kan utsättas för, utförs ett materialval och en hållfasthetsberäkning. Arbetet resulterar i att en 3D-modell av konceptet görs och visualiseras för att ge en realistisk bild av hur det hade sett ut i verkligheten. Interiören kommer att vara tillverkad i polypropen och ha en sportig och futuristisk design med detaljer i grönt ljus för att hänga ihop med exteriören. / Vehicle manufacturers are constantly trying to develop cars that stand out from the competition by improving the fuel, design and performance. A lot of times it is the tiny details that makes the difference. A relatively new development is the lightweight electric car for one or two people. The currently existing models differ quite a lot from each other, which means there is some space for a unique design. The design is important because it affects the feeling and impression the costumer gets and the interior design is even more important because the costumer spends most of the time inside the car.This work was carried out to create a sporty and futuristic interior for the low-cost car Ecoist Tian. A concept of the interior around the driver will be developed and visualized. Besides the visualization a choice of material and calculation of strength will be carried out. To develop a concept, the customer's needs must be established trough an interview with Thomas Koch from Ecoist first. Afterwards an external search will be performed, to find solutions to parts of the problem. These solutions will then be used as inspiration and continued development in the internal search and tested trough bodystorming.To ensure that the concept holds for the stresses it can be exposed to, a material selection and a strength calculation is carried out. The work results in the making of a 3D-model which is visualized to give a realistic picture of what it would look like in a reality. The interior will be made in Polypropylene and have a sporty and futuristic design with details in green light in order to create a completeness with the exterior.

Detta examensprojekt i inredningsarkitektur och möbeldesign på Konstfack, utforskar och utvecklar metoder för hur inredningsarkitektur kan gestaltas utifrån musik. Genom ett praktikbaserat undersökande analyseras subjektiva upplevelser av musik, vilka beståndsdelar som finns och hur musiken är uppbyggd. Ett undersökande som skapar ramar för inredningsarkitekten att förhålla sig till i en gestaltningsprocess. Inte som en begränsning, utan som ett gränssnitt som välkomnar alternativa arbetssätt och undersöker nya gestaltningsmöjligheter. Utifrån ett utvalt musikstycke gestaltas en interiör översättning av musiken och upplevelser den genererar. Projektet itererar mellan musikteori, studier av subjektiva upplevelser och färg-, ljus- och materialutforskning. Resultatet blir ett förslag på metoder för att analysera och studera rumslighet i direkt relation till musik, men också ett konkret gestaltningsförslag utifrån denna metodutveckling. Ett exempel på en översättning av ett medium till ett annat, som i sig blir ett fristående verk. Rytm, mörker och ljus formar tillsammans en temporal upplevelse. Ett musikstycke blir till interiör i långt, smalt rum, där ljuset hamnar i fokus mellan två skikt av väggar, med inslag av överraskningar som visar sig i ljusfärg, ytfärg eller material. / This degree project in interior architecture and furniture design at Konstfack, explores and develops methods for how interior architecture can be designed based on music. Through practice-based studies, the project analyzes subjective experiences of music, which components that exist and how the music is structured. Studies that creates frames for the interior designer to relate to in a design process. Not as limitations, but as an interface that welcomes alternative ways of working and investigates new design possibilities. Based on a selected piece of music, a translation into interior is created of the music and experiences it generates. The project iterates between music theory, studies of subjective experiences and color, light and material exploration. The result is a proposal for methods created for analyzing and studying spatiality in relation to music, but also a design proposal based on this method development. An example of a translation of one medium into another, which in itself becomes an independent work. Rhythm, darkness and light form a temporal experience together. A piece of music becomes an interior in a long, narrow room, where the light comes into focus between two layers of walls, with elements of surprises represented in colored light, surface color or material.

The biggest shift in the automotive industry lies ahead. Autonomous vehicles create both curiosity and skepticism among drivers and people around. Autonomous vehicles, more specifically trucks, will not be utterly self-driving overnight. The whole transformation will take place in different phases. When a vehicle does not need a driver behind the wheel, new needs will arise. This is where this project comes into play. On behalf of Scania, a new driver’s seat shall be developed for new needs from the drivers for autonomous trucks of type 4. The project was carried out at Scania’s design department for cabin interiors. The project aimed to develop new needs for the future autonomous level 4 trucks in order to develop a driver’s seat that meets these needs. The project began with a planning phase in which the goals and the time frame for the project were set up. The project was then implemented in four different phases inspired by CDIO (n.d.). The work began with a benchmarking on existing trucks and passenger cars, but also on the future visions of different competitors regarding autonomous vehicles. Much work was put into understanding theories and interpreting relevant information. The users were used early in the project in the form of interviews, observations, and a survey that reached 299 truck drivers. The work then continued with various forms of brainstorming both within the project group and together with engineers from the group at Scania. The final work contained a CAD model of both prototype, CAID models of the final design, and a prototype scale of 1:1. The final result of the project is a new driver’s seat with the possibility of pushing the seat almost three times further back than the current seat. It can now be done when the driver’s seat is part of the bed. During the user study and the brainstorming, new needs were taken from the perspective of the sun being able to adapt to three different positions; rest, drive, work. The new driver’s seat now gives the drivers this opportunity. The result of this project may be more effective in driving the driver, which benefits both Scania and the customers in the form of the drivers being able to drive longer than previously allowed. / Det största skiften inom fordonsbranschen ligger framför oss. Autonoma fordon skapar både nyfikenhet och en skepsis bland förare och människor runt omkring. Autonoma fordon, mer specifikt lastbilar, kommer inte bli helt självkörande under en natt. Hela för- vandlingen kommer ske i olika faser. När ett fordon inte behöver en förare bakom ratten kommer nya behov uppkomma. Det är här det här projektet kommer in i bilden. På uppdrag av Scania, ska en ny förarstol utvecklas för nya behov från förarna för autonoma lastbilar av typen nivå 4. Projektet är ett examensarbete gjort av två studenter vid utbildningen civilingenjör inom teknisk design med inriktning produktutveckling, vid Luleå tekniska universitet. Projektet genomfördes på Scanias konstruktionsavdelning för hyttint- eriör. Målet för projektet var att ta fram nya behov för framtidens autonoma nivå 4 lastbilar för att sedan utveckla en förarstol som uppfyller dessa behov. Projektet började med en planeringsfas där målen och tidsramen för projektet sattes upp. Projektet genomfördes sedan i fyra olika faser inspirerade av CDIO (n.d.). Arbetet började med att en benchmarking gjordes på befintliga lastbilar och personbilar men även på olika konkurrenters framtidsvisioner gällande autonoma fordon. Mycket arbete lades på att förstå teorier och tolka relevant infor- mation. Användarna användes tidigt i projektet i form av intervjuer, observationer och en enkät som nådde ut till 299 lastbilsförare. Arbetet fortsatte sedan med olika former av brainstorming både inom projektgruppen och tillsammans med ingenjörer från gruppen på Scania. Slutgiltiga arbetet innehöll CAD-modeller av både prototyp, CAID-modeller av slutgiltig design samt en prototyp i skala 1:1. Det slutgiltiga resultatet av projektet är en ny förarstol med möjligheten att skjuta bak stolen nästan tre gånger längre än vad som tidigare var möjligt. Det kan nu göras då förarstolen är en del av sängen. Under användarstudien och brainstormingen togs nya behov fram i from av att solen ska ha möjlighet att anpassas till tre olika lägen; vila, köra, arbeta. Den nya förarstolen ger nu förarna den här möjligheten. Resultatet av det här projektet kan komma att effektivisera föraryrket, vilket gynnar både Scania och kunderna i form av att förarna kommer kunna köra längre än vad tidigare varit tillåtet.

The sites I visit turned into routines a long time ago. Everywhere someone has decided what should be there and what will not fit. I retreat into my daydreams, away from everyday life. A longing for something different, something wonderful. I decided to go where I've never been, searching for something unknown. Sometimes the escape and search is similar, and with the same goal. This is a story about a journey to a new place, which is familiar in more ways than one. It's about everything that is designated, but by whom and for whom? About possibilities, to see what the world could be, potential, dreams and hope. The project aims to implement a fantasy, and show a different reality. I found a place on the border between urban buildings and vast nature. An end, a beginning and a passage. There is a tree, a symbol of knowledge and vegetation, a premonition of what's coming. The closest we come to untouched nature begins on the other side of the slope. But here, where I stand, everything is decided. I understand that my world is synthetic. My project is a site-specific design in Akalla, where I created a tree wig and a stone landscape.

Svenska förskolor har tidigare utformats med separataoch identiska avdelningar i vilka samtliga aktiviteter tarplats. Idag finns ett annorlunda synsätt vid byggnationerav förskolor som nu gestaltas med små hemvisten för olika åldersgrupper tillsammans med gemensamma rumför lek, skapande, vetenskap, musik och måltider. I dettaarbete utförs en konceptuell gestaltning av en förskola för144 barn i samhället Sävast i Bodens kommun utifrån ett redan framtaget lokalprogram och en given tomt. Syftetär att gestalta en förskola i ett plan med större gemensamt utnyttjade torg och undersöka hur god rumslighet skapas itorgen. Samtidigt ska trivseln i inomhusmiljön beaktas medhänsyn på barnen och pedagogerna. Arbetet påbörjas genom en inledande litteraturstudiedär arkitektoniska kvalitéer, barnets behov och utvecklingbeaktas kopplat till förskolor med ett gemensamt utnyttjat torg. Litteraturstudien följs av tre stycken fallstudier på förskolor i Luleå och Umeå där både platsbesök och intervjuer genomförs. Därefter syntetiseras resultatet från litteraturstudien och fallstudierna med hjälp av metodenProblem Seeking vilket går ut på att identifiera behov ochlösningar. Det resulterar i en syntes bestående av sex styckenlösningar som uppfyller flest identifierade behov för barn och pedagoger, vilka i sin tur ligger till grund för det framtagna konceptet. Syntesen resulterar i följande sex kvalitéer: Öppen planlösning, Utmanande och varierande, Nivåer och krypin, Färg, material och texturer, Ljus och transparenta ytor samt Skapa aktivitetsrum i rummet. Detta resulterar efter en platsanalys, flödes- och sambands-skisser samt volymstudier i en rödfärgad förskola med skiftande tak innehållande ett större och ett mindre torg som tillsammans med restaurangen skapar en cirkulation kring en innergård. Torgen resulterar i öppna utrymmenmed snedställda innerväggar, varierande takhöjder samt utstickande och oregelbundna fönstersättningar. Mindrerumsligheter i torgen skapas främst med hjälp av olika typer av lös inredning där både transparenta och opaka material med olika texturer förekommer. Huruvida god rumslighet har skapats i torgen för att forma en trivsam inomhusmiljö är svårt att svara på då rumslig upplevelse är individuell. Vilka medel som kan användas för att skapa god rumslighet i en inomhusmiljö har däremotkunnat identifieras, vilket skapar goda förutsättningar för attuppnå det syfte torgutformningen tillgivits. / Preschools in Sweden have previously been designed with separate and identical departments where all activities take place. Today, there is a different approach when designing preschools. They are now shaped with small units for different age groups, along with common spaces for play, creation, science, music and meals. In this work, a conceptual design of a preschool for 144 children is carried out in Sävast, part of the municipality of Boden, on the basis of an alreadydeveloped local program and a given site. The purpose isto form a preschool in one level with larger common used squares and explore how good spatiality is created in the squares. At the same time, the indoor environmental comfort is taken into consideration with regard to both the childrenand the educators. The work is initiated by a literature study in which architectural qualities, child needs and development is taken into account regarding preschools with a common used square. The study of literature is followed by three case studies at preschools in Luleå and Umeå, where both site visits and interviews are conducted. Thereafter, the results of the study of literatureand the case studies are synthesized using the ProblemSeeking method, which has a purpose of identifying needsand solutions. This results in a synthesis consisting of sixqualities which meet the most identified needs for childrenand educators. This in turn underlies the developing ofthe design concept. The synthesis leads to the following six qualities: Open plan, Challenging and varying, Levels and nests, Colour, material and textures, Light and transparentsurfaces and Creating activity spatiality’s in a bigger space. After a site analysis, flow and connection sketches and volume studies the result is a red-colored preschool withvarying roofs. The preschool contains a larger and smallersquare which together with the restaurant creates a circulation around a courtyard. The squares results in an open space with oblique interior walls, varying ceilings, and protruding and irregular windows. Smaller spaces in the squares are mainly created using various types of non permanent furnishings, where both transparent and opaque materials with differenttextures are present. Whether good spatiality has been created to form a pleasantindoor environment is difficult to answer when spatial experiences are individual. On the other hand, the meansthat can be used to create good spatiality in an indoorenvironment have been identified, which creates goodconditions for achieving the purpose of the design of the squares.

In a time of growing consciousness around sustainability and an early paradigm shift when it comes to circular systems for furniture and interiors, as an aspiring designer, I need and must adapt accordingly within my field and creative practice. In this project, I have worked with the immense material waste that is going on, especially focusing on furniture and interiors, within the public and private sectors as well as in office environments, where this is a big issue. Guided by the United Nations Global Goal No 12 - Responsible Consumption and Production, I have experimented with, to me, new ideas for systems that deal with the upcycling and repurposing of “old” and/or discarded pieces of furniture and the material they are made from. To see what I can make of it to prolong the lifecycle and give the material a new purpose, function, and value. In my process I have acted both as an interior architect and a furniture designer but also as a sculptor and craftsman since the predetermined “waste” material I have worked with demanded a reversed design process than what a “normal” one would look like for a commercial project.    The result is a series of new furniture designed and made from waste material, revisioned by me through a mix of art and design, to see how I as a designer of furniture and interiors can develop and find my path in this and to help formulate the new design paradigm and aesthetics for future circular and sustainable furniture and interior solutions that is underway.

The intent of this report is to distinguish the significance of interiors to obtain social sustainability in office environments as well as identifying selected environmental rating systems’ weaknesses and strengths concerning the inclusion of social criteria. To conduct the study an extensive literature study and several interviews have taken place. The study has resulted in 45 different criteria, which all are significant to obtain in a social sustainable office environment. To make the results easier to understand and interpret they are presented graphically with a custom designed tool, titled Duis Socialis. Using this tool, the criteria for social sustainability are presented along with the results from the review of the environmental rating systems. The results of this study shows that the environmental rating systems have a predominance towards the technical criteria in comparison with the criteria concerning sociology, culture and equality. This trend is most likely a consequence of the technical criteria being easier to quantify as well as containing distinguishable exposure-response relationships. The one criterion that could be identified in all of the environmental rating systems was Toxic-free materials. This is most likely because it is easy to quantify and is an important criterion seen from an environmental point of view. Six criteria were not identified in any of the systems: Power structures, Gender neutrality, Open spaces, Orderliness, Physically attractive interiors and Viable technology. None of the reviewed environmental rating systems do a clear attempt to include social sustainability, with the exception of WELL Building Standard. WELL Building Standard: New and Existing Interiors and WELL Building Standard: New and Existing Buildings were the environmental rating systems that fulfilled the most criteria. This may be because WELL Building Standard focusses on health and well-being instead of being a pure environmental rating system. Also, WELL Building Standard has been used to help identify the social criteria used in this study. The system that fulfilled least criteria was BASTA, it only fulfilled Toxic-free materials. This is because BASTA has a clearly stated focus on toxic-free materials and nothing else. The results of this study aim to increase the awareness of social sustainability and are by the authors of this report seen as a first step in the process. In the future the authors believe in the introduction of sustainability rating systems and sustainability certifications in which the economic, ecologic and social dimensions of sustainable development are included.

The project Hope of the Remains deals with urban development from a spatial design perspective, using the Lövholmen area in Stockholm as a starting point.  The project’s purpose is to create a dialogue, to better understand and improve urban development. Also, to question what my responsibility with expertise in interior architecture is and to explore what resources the interior architect possesses.  Lövholmen bears an industrial history while also having a prominent art and design identity. The issue at stake is whether to demolish or preserve remains of the industrial period. The project may be a way of appreciating historical values, questioning environmental imprints, but also creating a nesting spatial experience for people. Like how animals seek a smaller, comfortable, and safe space to settle down. And by that, I mean spaces for people to gather to work, have conversations, have a meal, or just stay in while reading a book, which is mostly the smaller existing spaces or the smaller newly built interior rooms. However, public space is important to be preserved within the future of Lövholmen as a residential area. To create a vibrant neighborhood with coexistential values.  Hope of the Remains contains a concept and idea that are developed for the future of industrial properties that are currently empty. The idea is based on the property Nitrolack designed by the architects Nils Tesch and Lars Magnus Giertz for AB Wilh. Becker's paint factory, that was built in 1943-44. My master’s thesis investigates ​nesting as a phenomenon and its significance in these types of large spaces that hold qualities and challenges. How void and mass can be formed by color and shape. The project Hope of the Remains reflects our time, a debate about the urban growth and our responsibility for how we develop the city and how we can make use of remains, history and culture in the future. The design proposal is aimed to encourage commitment and interest. It is a way to create a conversation and inspire new visions for the development of Lövholmen and similar areas. The vision is intended to encourage dialogue. The design proposal within the project is a vision of a future in relation to what already exists on Lövholmen both historically, today and taking care of the industrial modernist remains for a new future. It is a way to increase the value of the existing structures, both a historical and environmental impact, but also the possibilities of the existing spaces as an asset for what can be developed here.

Syftet med denna uppsats har varit att undersöka byggnadsvård ur ett ekonomiskt perspektiv. Vi har velat få svar på frågan om det finns ekonomiska argument för den enskilda individen att tillämpa byggnadsvård. Kan vi stödja byggnadsvården med ytterligare argument som gör att fler applicerar byggnadsvård i sitt sätt att tänka vid renovering har vi lyckats med att uppnå vår önskan med uppsatsen.Vi har använt oss av tre metoder för att få svar på vår frågeställning. Den första är en statistisk undersökning där vi har jämfört priser på hus som är bevarade med hus som renoverats till oigenkännlighet. Här har vi gjort en exteriör bedömning på hus i fyra olika städer i Sverige. Den andra undersökningen är en enkät som har skickats ut till en mängd olika mäklare runt om i landet där de fått dela med sig av sina erfarenheter. Är ett bevarat hus värt mer än ett som inte är bevarat?Vilka originaldetaljer är det som höjer priset mest? Kan det vara en investering att köpa ett bevarat hus? I den tredje och sista undersökningen har vi valt att jämföra två offerter från byggföretag. I den ena offerten presenteras kostnaden för att renovera ett tak med bevarande i åtanke, i den andra görs allt om med nya material och metoder. Vilken av dem är billigast och vilken står sig i längden?Resultatet från både den statistiska undersökningen och enkäten visade att ett bevarat hus både upplevs som mer attraktivt på marknaden men också statistiskt sett blir sålt till högre pris än de hus som inte har bevarats. Offertjämförelsen visade att det inte skiljer särskilt mycket i pris mellan de två renoveringsmetoderna. I sin helhet talar resultatet för att individen mycket väl kan tillämpa byggnadsvård ur en ekonomisk synvinkel. / The purpose of this paper was to investigate building conservation from an economic perspective. We wanted to answer the question whether or not there are economic arguments for individuals to apply building conservation. If we can support building care with additional arguments that will allow more people to apply building conservation in their way of thinking in terms of renovation, we have managed to achieve our goal of this paper.We have used three methods to get the answers to our research question. The first is a statistical study where we have compared prices on houses that are kept in original with the house being renovated beyond recognition. We have performed an exterior assessment of houses in four different cities in Sweden. The second method is a survey that was sent out a variety of real estate brokers around the country where they would share their experiences. Is a preserved house worth more than a non-preserved house? Which original detail raises the price the most? Could it be an investment to buy a preserved house? In the third and final study, we have chosen to compare two quotes from construction companies. One of the quotations presented the cost to renovate with conservation in mind, while the second is about the new materials and methods. Which one is the cheapest and which stands in the long run?The results from both the statistical analysis and the survey showed that a preserved house is perceived as more attractive on the market and also that it is, statistically, sold at a higher price than the houses that have not been preserved. The quote comparison showed that it does not differentiate much in price between the two renovation methods. As a whole, the results show that the individual may well apply building conservation from an economic standpoint.