Studiens syfte är att skapa en annonsserie som bryter mot normen kring överkonsumtion. Detta görs genom en kvalitativ intervjustudie där fokus är att förstå hur företag resonerar kring utformningen av inredningsannonser, som sedan ligger till grund för vårt skapande. Målet med projektet är att bidra med ett alternativ till marknadsföringens grundidéer om överkonsumtion. Studien använder sig av socialsemiotik, diskursteori, CSR och hållbarhetskommunikation som teoretiskt ramverk. Resultaten av studien visar att yrkesverksamma inom kommunikation av inredningsprodukter förespråkar annonsering som fokuserar på att förmedla företagets värderingar och locka en kundgrupp som är intresserade av dessa. De visar också att sanningsenlig kommunikation av företagets hållbarhetsinsatser är eftersträvansvärd. Utifrån detta skapade vi fyra annonsbilder och en reel åt ett fiktivt hemtextilsföretag som kan agera exempel för företag som vill utveckla sin hållbarhetskommunikation. Budskapet i annonserna är att företaget finns när kunderna behöver dem och att deras produkter passar med det de redan har hemma, i syfte att inte bidra till överkonsumtion. / The aim of this study is to create a series of advertisements which break the norm of over- consumption. This is done through a qualitative interview-study which focuses on understanding organisations’ reasoning behind how they create advertisements for interior decor products, which then is the basis for our creative process. The study uses social semiotics, discourse theory, CSR and sustainability marketing as its theoretical framework. The results of the study show that professionals in the field of communicating interior decor products advocate for marketing which focuses on conveying the organisation’s values and attracts consumers who are interested in those. They also show that authenticity is key for communicating sustainability efforts. On this basis we created four images and a reel as advertisements for a fictional home-textile company. These can act as examples for organisations who wish to develop their sustainability marketing. The message in these advertisements is that the company is there when they are needed and that their products fit with the things consumers already own, not contributing to over-consumption.

Arbetets syfte är att på ett metodiskt vis utveckla en produkt i form av ett växthus för inom- och utomhusbruk, på uppdrag av ett utomstående företag. En förstudie utfördes för att bredda kunskapen kring växters krav och behov. Därefter undersöktes även vilka krav och önskemål odlarna ställer på en produkt av denna karaktär. Enkät- och intervjusvar blev grunden för många beslut kring funktion och utseende. Dessutom låg fokus på att utveckla en trendig och hållbar produkt. Utvecklingen följde en arbetsprocess utvecklad av Pahl och Beitz som består av 4 olika faser: planering/specifikation, konceptuell design, konceptutveckling och detaljdesign. Resultatet blev ett växthus med möjlighet för odling i jord och kruka. Locket till växthuset fungerar som avställningsbänk och inkapslar en syntetisk belysning som hjälper växterna frodas i karga nordiska miljöer. I locket finns även ett bevattningssystem som underlättar bevattning för användaren. Genom en modulär konstruktion erbjuds användaren 360 graders åtkomst till växterna från jordnivå. / The degree project’s purpose was to develop a product following a methodological approach. The product was a miniature greenhouse for indoor and outdoor use, commissioned by a company. The goal of the project was to develop an entire product. An extensive prestudy was performed focused on understanding plants and their needs. Wishes and demands of users were collected by questionnaires and interviews. The answers collected became the basis for many decisions regarding function and form. Furthermore, a lot of focus was on developing a trendy and sustainable product. The development process followed Pahl and Beitz’s model which consists of 4 phases: Planning/specification, Conceptual design, Concept development and Detail design. The result is a greenhouse with the possibility for growing in pots or soil. The lid acts as a storage space and encapsulates the synthetic lights that will help the plants grow, especially in climates with less sun. The lid also contains a system that makes watering the plants easier. The modular construction gives the user 360-degree access to the plants from soil level.

Occupant une place majeure dans les intérieurs, les miroirs se sont progressivement imposés comme un décor d’architecture à part entière dans les pièces privées, puis dans les pièces de réception des grandes demeures aristocratiques européennes aux XVIIe et XVIIIe siècles. Le propos de la présente thèse est d’éclairer non seulement le développement des miroirs en tant que décoration fixe, mais aussi leur utilisation dans de véritables mises en scène architecturales. Envisagé sur un temps long de deux siècles et dans une aire géographique conséquente (France, Italie, Espagne, Allemagne, Autriche, Suède), ce travail débute par une étude du développement de ces décors au XVIIe siècle, en interrogeant le rôle de la France dans la définition et la circulation des modèles en Europe. Puis, dans un second temps sont étudiées les typologies de cabinet et de galerie de glaces, pièces les plus concernées par ce type de décor. Enfin, la place des miroirs dans la pratique architecturale et leur rôle illusionniste dans les intérieurs sont traités dans une dernière partie. / Occupying an important place in the interiors, mirrors have progressively been an architectural decor in its own right in the private rooms, then in the reception rooms of the European great aristocratic houses in the XVII and XVIII centuries. The purpose of this thesis is to enlighten not only the development of mirrors as fixed decoration, but also their use in true architectural staging. Based on a two century scale and a substantial geographic area (France, Italy, Spain, Germany, Austria, Sweden), this work starts by a study of the development of these decors in the XVII century, by questioning the role of France in the definition and the circulation of models in Europe. Then, it focuses on the typologies of mirror cabinet and galleries, the most affected rooms by this kind of décor. Finally, in the last section, the mirror place in the architectural practice and their illusionist role in the interiors are studied.

I will build an argument utilizing the Hôtel de Soubise as a case study for the way in which the division between exteriors and interiors depicts the shifting cultural fabric of 18th-century French society.

This thesis explores the implications of chinoiserie, or Western creations of Chinese-style decorative arts, upon an eighteenth century colonial American audience. Chinese products such as tea, porcelain, and silk, and goods such as furniture and wallpaper displaying Chinese motifs of distant exotic lands, had become popular commodities in Europe by the eighteenth century. The American colonists, who were primarily culturally British, thus developed a taste for chinoiserie fashions and wares via their European heritage. While most European countries had direct access to the China trade, colonial Americans were banned from any direct contact with the Orient by the British East India Company. They were relegated to creating their own versions of these popular designs and products based on their own interpretations of British imports. Americans also created a mental construct of China from philosophical writings of their European contemporaries, such as Voltaire, who often envisioned China as a philosopher's paradise. Some colonial Americans, such as Benjamin Franklin and Thomas Jefferson, fit their understanding of China within their own Enlightenment worldview. For these individuals, chinoiserie in American homes not only reflected the owners' desires to keep up with European fashions, but also carried associations with Enlightenment thought. The latter half of the eighteenth century was a time of escalating conflict as Americans colonists began to assert the right to govern themselves. Part of their struggle for freedom from England was a desire to rid themselves of the British imports, such as tea, silk, and porcelain, on which they had become so dependent by making those goods themselves. Americans in the eighteenth century had many of the natural resources to create such products, but often lacked the skill or equipment for turning their raw materials into finished goods. This thesis examines the colonists' attempts to create their own chinoiserie products, despite these odds, in light of revolutionary sentiments of the day. Chinoiserie in colonial America meshed with neoclassical décor, thereby reflecting the Enlightenment and revolutionary spirit of the time, and revealing a complex colonial worldview filled with trans-oceanic dialogues and cross-cultural currents.