Our lives are composed of multiple rhythms, but many of us, living in Western industrialised societies, believe that the world is moving ever faster. Many of us also feel the range of negative impacts that this supposed condition of acceleration brings to everyday life, to social interac- tions and to the natural world. From attempting to reconfigure our bodies through caffeine and other stimulants to working longer hours to manage the rush, or wondering how it is damaging our environment, we all eventually experience a sense of powerlessness regarding this supposed rule of acceleration. Acceleration, however, does not correspond to how the world is, but how it is presented for some people, in some situations. The notion of acceleration as a universalised condition is just an expression of dominant narratives of time, which are embedded in accounts of what it means to be modern or postmodern, and which have been recently demystified in the social sciences and the humanities. The world is comprised of multiple temporal expressions, which con- tinue to play important roles in our lives, despite being disregarded within dominant narratives. This thesis analyses the role of these narratives as well as different approaches to time in design. It suggests that the hegemony of such accounts has been restricting design practice in three main ways: 1. by monopolising designers’ understandings of time and precluding the exploration of alternative expressions and more recent theoretical work on time; 2. by locating temporality within technological artefacts and systems and ignoring the breadth of expressions beyond and around these technologies; and 3. by simplifying proposals for a diversification of temporal notions that would otherwise contribute to promoting more varied perceptions of rhythms. This simplification is particularly noticeable in the outcomes of the Slow Technology and Slow Design movements, which have failed to acknowledge such narratives and have become integrated in them rather than challenging them. The research proposes Temporal Design as a new perspective on time in design, one focused not on a particular rhythm or temporal expression, but on the multiplicity of ways in which we all inhabit time, in its contrasts, combinations, changes and superpositions. Temporal Design is based on three principles: 1. identifying dominant narratives and attempting to challenge them so as to reveal more nuanced expressions of time; 2. drawing attention to specific alternative temporalities; and 
3. tactically exposing networks of times so as to illustrate multiplicity and variety. The research invites designers to disturb taken-for-granted notions as a method of approaching principle (1) outlined above. It discusses the limitations of current Speculative and Critical De- sign approaches to tackling more complex issues of time, proposing instead a critical affirmative attitude toward approaching principles (2) and (3) outlined above. Temporal Design is explored in this research via three design interventions, namely the Family Clock, the Printer Clock and the TimeBots, which have been performed in both family homes and schools. The interviews conducted in the context of these interventions showed how domi- nant narratives are deeply embedded in the language used to describe temporal expressions. The interviews, however, also demonstrated how multiple temporalities are manifest beneath these concepts, how practices come together to construct multiple expressions of time and how temporal interpretations are essentially detached from issues of value. Most importantly, the interventions demonstrate how designers can foster temporal empathy, and disclose more nuanced, situated and complex temporalities and rhythms. Many authors have argued that design has the power to change perceptions of the world. By shifting the focus from individual modes to diversity, Temporal Design attempts not only to change the way designers perceive and approach time, but also to change more broadly the way designed artefacts and systems come to affect temporal perceptions among the general public. Perhaps through design, we will all come to recognise that acceleration is not the rule, but just one among many expressions of the rich temporal texture that constitutes time in the world.

I mötet mellan händer och lera har en serie skålar i stengods tagit form som är riktade till den som yrkar ensamätandet. Arbetet är en strävan efter att ta fram emotionellt hållbara produkter där funktion kombinerats med interaktion för att utmana ätandet och ge en annorlunda matupplevelse.   Skålarna med sin runda botten kan behöva lite hjälp att hålla balansen vilket medför att du måste ta hand om skålen och maten du äter.  Tanken är att användaren enkelt med en hand ska kunna hålla skålen och om du vill ställa ifrån dig får du göra det försiktigt. Min önskan är att skålarna ska vara så pass tilldragande att användaren knyter an till skålen och gör den till sin egen. / Hold me is a project that aspires to bring out emotionally sustainable products were function has been combined with interaction for an altered experience of eating. The meeting between clay and hands has resulted in a series of bowls which are designed for people who eat alone.   The bowls with their round bottom may need some help to keep their balance which means you care for the bowl and the food you eat. The idea is that you easily, with one hand can hold your bowl and if you want to set it aside, you do it gently. My wish is that the bowl will be so appealing that the user connects to it and makes it their own.

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Arbetet utforskar hur väl det går att tillämpa Slow Design och dess principer (reveal, expand, reflect, engage, participate, evolve och ritual) inom utvecklingen av digitala artefakter. I kontrast till ett fokus på effektiva interaktioner, fokuserar Slow Design på att främja medvetna interaktioner genom att skapa tillfällen för reflektion. Tidigare forskning har däremot mestadels fokuserat på tillämpningar av filosofin i design av fysiska artefakter. Med detta i åtanke, syftar detta arbete att besvara följande frågeställning: Hur kan principer för Slow Design appliceras i utvecklingen av digitala artefakter för att uppmuntra reflektioner hos användare? Huvudsakliga forskningsstrategin i studien var design science, med fokus på design och demonstration. Problemformuleringen och en del av behovsdefinitionen baserades på insamlad data från ett tidigare projektarbete genomfört av samma författare, där en virtuell matbutik utvecklades baserat på data från en empirisk studie kring mathandel. Utifrån detta togs en behovsdefinition fram för detta arbete, där krav på artefakten fastställdes. Detta kompletterades vidare med en tillämpning av principerna för Slow Design. Designarbetet inleddes därefter med en idégenerering, där ett flertal olika idéer genererades utifrån specificerade krav och principer för Slow Design. En validering med användare resulterade sedan i ett urval av idéer som användes som utgångspunkt för tidiga skisser på nätbutiken. Med utgångspunkt i skisserna utvecklades en prototyp av en nätbutik där olika funktioner implementerades med syftet att gestalta ett flertal principer för Slow Design. Därefter genomfördes en demonstration av prototypen, där sex deltagare ombads utföra ett antal uppgifter med både prototypen och en etablerad nätbutik. Detta genomfördes inom ramen av en mindre kartläggning där både observationer och semistrukturerade intervjuer genomfördes, som kunde ge insikter kring deltagarnas upplevelser av den utvecklade artefakten jämfört med en etablerad nätbutik. Insamlad data analyserades tematiskt och resulterade i tre teman: transparens, form och temporalitet. Dessa tre teman visade på övergripande aspekter i nätbutiken som kunde påverka reflektion. Utifrån den bedömning som gjordes, lyckades fem av sex implementerade principer framgångsrikt gestaltas i prototypen. Resultatet visade hur Slow Design kunde appliceras i utformning av en nätbutik, samt hur en implementering av de olika principerna kan bidra till en mer reflekterande, medveten och meningsfull mathandel. Därför dras slutsatsen, att arbetet på en mer övergripande nivå tydligt visar hur Slow Design kan appliceras i utvecklingen av digitala artefakter, och hur en tillämpning av principerna kan leda till fler möjligheter för användare att reflektera under användningen av digitala artefakter. / This paper reports on an exploration of how to apply Slow Design and its principles (reveal, expand, reflect, engage, participate, evolve and ritual) to digital artifacts. Unlike a more traditional focus on efficient interactions, the intention behind Slow Design is to promote meaningful interactions by supporting moments of reflection. However, previous research has primarily focused on applying the philosophy to physical artifacts or products. With this in mind, the following research question was defined: How can principles for Slow Design be applied in developing digital artifacts to encourage reflection in users? The primary research strategy used was design science, focusing on design and demonstration. The problem explication and a part of the requirement definition were based on a previous project by the same authors, in which a virtual grocery store was developed based on data gathered through an empirical study of slowness regarding grocery shopping. The main findings of the empirical study are reported on and further operationalized in this study to define the requirements for an artifact. The requirement definition was expanded further by translating the current principles for Slow Design to make them more applicable to digital design. Design concepts were subsequently developed as part of the design and development phase, in which interweaving requirements and principles for Slow Design resulted in multiple ideas. Three users then validated the ideas, resulting in a selection of ideas to be used in early sketches of the online store. Based on these sketches, a prototype was developed with functionality that, in different ways, embodied a total of six (out of seven) principles for Slow Design. A demonstration of the prototype was then conducted, in which six participants were instructed to perform a set of tasks with both the prototype and an already established online store. For this purpose, a small-scale survey was conducted in which observations and semi-structured interviews were conducted to gather data that could highlight differences in the experiences of using both artifacts. A thematic analysis was then conducted to identify overarching patterns in the data, resulting in three themes highlighting properties of the prototype that could influence or limit reflective use: transparency, form, and temporality. The authors then assessed that five (out of six) principles for Slow Design had been successfully embodied in the prototype. The result showed how Slow Design could be applied in the design of an online grocery store and how implementing the principles could contribute to a more reflecting, conscious, and meaningful grocery shopping experience. Therefore, the study on a higher level clearly shows how Slow Design can be applied in the design of digital artifacts, and how applying the principles can lead to more opportunities for users to reflect during their interactions with digital artifacts.

Master of Science / Department of Apparel, Textiles, and Interior Design / Sherry J. Haar / This study was based on the concept of slow design, proposed after the slow food movement. The idea of slowing down production processes and increasing product quality and value suggests an antidote to the fast cycle of the fashion industry. Slow design supports two principals, inheriting tradition and maintaining eco-efficiency, which guided this project. Inheriting tradition is an expression that explores ways to sustain lost art and traditional heritage in our daily lives, as well as develop products that establish personal meaning for the consumer. Maintaining eco-efficiency of product production involves utilization of eco-friendly materials and sustainable approaches to aid in developing a healthier and cleaner ecosystem. The overall goal of this design research was to celebrate and sustain the spiritual and material civilization of the Chinese culture by creating a modern artistic interpretation of Chinese traditional arts using an environmentally conscious approach that was applicable to apparel design. This research created modern surface design on a group of garments from traditional Chinese Su Xiu embroidery, physical resist techniques, and natural dyes. This practice-based research utilized the paradigm of naturalistic inquiry to guide the stages of this project. A progressive design process was adopted in response to the unexpected events in the final artifact development. In the design exploration stage, a color library was created to provide the color story for the final artifacts. Basic Su Xiu embroidery stitches and traditional physical resist techniques were sampled with selected flosses and fabrics. Various samples were critiqued and analyzed to develop three unique techniques from characteristics of traditional Chinese Su Xiu embroidery, physical resist techniques (Zha Jiao, Feng Jiao, pole- wrapping, and Jia Xie), using natural dyeing techniques with woad and madder. Natural dye findings included using madder to overdye woad to adjust or reverse colors and that woad overpowered the effects of iron and acid premordants. The outcome resulted in a water-inspired series of three garments that showed evidence of simplified traditional techniques with reduced production time, energy, and dyeing material while encompassing elements of traditional art using a modern aesthetic. The designs and process were presented in a public exposition.

abstract: This thesis describes research into the application of socially reflective, or "Slow", design principles to modern mediated systems, or "Fast" technology. The "information overload" caused by drastic changes in the nature of human communications in the last decade has become a serious problem, with many human-technology interactions creating mental confusion, personal discomfort and a sense of disconnection. Slow design principles aim to help create interactions that avoid these problems by increasing interaction richness, encouraging engagement with local communities, and promoting personal and communal reflection. Three major functional mediated systems were constructed to examine the application of Slow principles on multiple scales: KiteViz, Taskville and Your ____ Here. Each system was designed based on a survey of current research within the field and previous research results. KiteViz is a visually metaphorical display of Twitter activity within a small group, Taskville is a workplace game designed to support collaboration and group awareness in an enterprise, and Your ____ Here is a physical-digital projection system that augments built architecture with user-submitted content to promote discussion and reflection. Each system was tested with multiple users and user groups, the systems were evaluated for their effectiveness in supporting each of the tenets of Slow design, and the results were collected into a set of key findings. Each system was considered generally effective, with specific strengths varying. The thesis concludes with a framework of five major principles to be used in the design of modern, highly-mediated systems that still apply Slow design principles: design for fundamental understanding, handle complexity gracefully, Slow is a process of evolution and revelation, leverage groups and personal connections to encode value, and allow for participation across a widely distributed range of scales. / Dissertation/Thesis / M.S.D. Design 2011

The exploration of my topic grew out of curiosity of growing up and living so close to nature, arguing that being in nature have many positive health effects for both body and soul. Nature experiences also have an important social significance. The project evolved into exploring the value of the local elders knowledge and narratives connected to the local nature around Växjö - stories that are a subtle power of culture that shaped landscapes. What is unknown and what is unseen and how much do we really know about our local nature in Småland? Nature is not static, it is always changing and so is our society, and as a reminder of the natural world, this project is about generating a tangible meeting point between human and mind and portraying the individuals connection to nature inspired by local narratives, which in turn can inspire those who are unfamiliar with the region of Småland wilderness. The aim with my project investigate how to find new ways to interact with local nature through storytelling. The design is therefore a research method that empowers the elderlies generation stories about local nature.

Simply Wood is a collaborative inquiry into the topic of all wood joints for industrially produced furniture through engineering and the culture of care for and with furniture through Design+Change. This thesis is written in collaboration with the product development and communication wings from IKEA of Sweden, as the external tutors and supervisors. The design part, called the Kinship of Care, focuses on the culture of care between IKEA’s fast furniture and its user. This research, Kinship of care, consists of slow design principles reveal, expand, and reflect that serve as a cyclic timeline through the design process. Reader, the new caregiver is at the beginning introduced into the field of Slow Design and what does it mean to be the agent of change in today’s world. As the thesis unfolds, the section Reveal expresses challenges IKEA is facing when it comes to the culture of care. These challenges serve as a foundation from which this thesis builds its shape. The notion of care is highly abundant in meanings, and the understanding of furniture is quite narrow and static. The sectionReveal reframes the idea of care in collaboration with other caregivers in the form of a Caregiver manifesto for Living in Times of Social Distancing. The notion of furniture is revalued during an intervention walk Beyond Furniture that reveals hidden connections to furniture in the forest. Once the concepts of furniture and care are reframed, they are brought together and reimagined in the next section Expand. Expand uses tools of bisociation to combine seemingly unrelated notions together. All this information is transformed in conclusion into seeds for caring with furniture that serves as carative guidelines, guidelines that motivate caregiving behaviour in one’s household, and guidelines for imagining caring furniture. In the last section Reflect, the reader contemplates the life of furniture and learns to let go for sustainable disposal practices through the Love and the Breakup letters. This section also contains an interview with a caregiving practitioner, a furniture upholsterer. In conclusion, seeds for caring with furniture are introduced in the form of a moving zine. This thesis, Simply Wood, encourages the reader, fast-furniture user, and fast-furniture producer, to become a slow caregiver in this fast-changing society and offers tools for re-conceptualizing rooted notions of care and furniture.

We are living in an age where the quantity of information has exceeded its quality. No doubt the digital and information revolutions have provided the world with countless positive improvements, but they have also increased the speed at which we live and work to the detriment of the heath of our world. This project explores ways in which designers can aid in an effort to slow down in order to reinvigorate a more sustainable graphic design product.

This project explores co-being and interdependencies between human and more-than-human, the microbes, through the medium of fermentation and the (hidden) communities this practice embodies. Therewith not only resisting commodification and alienation from our food but facing our very own identity, and the human-made construct of human exceptionalism and detachment of nature and culture. The cells in ’our’ human body are outnumbered by the cells of other microorganisms. They even actively influence many of the bodily functions associated with the concept of ’self‘ (our brain, immune system and genome).1 Considering this, what does it even mean to be human? What does it mean to be me, If not cherishing and embracing the more-than-human, more-than-one-culture collective? The Korean word 손맛 ’son-mat’/ ’hand-taste’ refers to the inherited quality, love and care that went into preparing the (often associated with mother‘s) dish, something uniquely connected to the cook. While the microbes in sourdough can be linked to the baker‘s hand microbes, the baker‘s microbes have also shown to beaffected by the interaction with sourdough (Herman‘s (see picture to the right) microbial culture) with the scientific findings exposing our mutual interaction. This son-mat within fermentation I see as a symbolized touching point where our human realm and the microbial invisible microcosmos meet and become tangible. To emphasize this co-being, I work with our bodily senses, using design to bridge, making the insensible sensible, tangible, and audible. Staying curious and sprawling with my design approaches of creating narratives with the more-than-human, aimed to evoke questions and reflections of us and our culture. What happens when we share culture (human and microbial)? Through our hands, eating and digesting parts of others and becoming-with. To share culture means to see that humans and ’non-humans‘ are one. To taste that our culture is shared. And to feel that nature and culture are not two but one. Can you taste it?